
TFTTC HENNERERRY COMPANY 




The John J. and Hanna M. McManus 
and Morris N. and Chesley V. Youno 
Collection 


> 




PRACTICAL. 


VENTRIL OgUISM 

I 

BEING 

A ‘Thoroughly Reliable Guide to the 
Art of Voice Throwing and 
Vocal Mimicry 

BY AN ENTIRELY NOVEL SYSTEM 
OF GRADED EXERCISES 

bi 

ROBERT G. ANTHONY 


b 


WITH NUMEROUS ILLUSTRATIONS 


PUBLISHERS 

THE HENNEBERRY CO 
CHICAGO 

y <r o / 







^f-GN 

12.16 


COPYRIGHT, IgOI, 
BY THE 

HENNEBERRY 

COMPANY 



Collection 

Gift— Oct. 12, 1»M 


PREFACE 



Ventriloquism we mean the art, the act, or the 
practice of speaking or singing in such a manner 
that the voice appears to come, not from the 
person himself, but from some other place, as from 
the opposite side of the room, above or below, etc. A 
ventriloquist is the performer, the actor. 

The author having long been an adept in the art, both 
as an entertainer and a teacher, feels, that while he may not 
be filling a long-felt want, he is supplying material for what 
has proven to be the most popular method of entertaining 
yet devised. Ventriloqtiists are not born any more than are 
musicians. It is only by practice that one can become 
proficient in anything. Therefore, in laying down the prin- 
ciples necessary in acquiring the art, I feel that all that 
will be necessary on the part of the student is to practice 
as often and as long as both time and vocal organs will 
permit. 

Ventriloquism is a healthful exercise even aside from 
its entertaining feature. If I were a doctor, as I am 
entertainer, I should prescribe a course in Ventriloquism 
for all throat and lung troubles. It is also beneficial as a 
physical exercise for the whole body, for one to be really 
proficient in the art he must take as much “exercise” as if 
he were a contortionist or an acrobat. 

The system of graduated scales and exercises which I 
have formulated create the Ventriloquial voice by gradually 
training the vocal organs to an acquaintance with, and a 
subsequent mastery of the duties required of them. 

If this work is to be the means, as it should be, of 
enabling the reader to astonish and amuse his friends or 
the public, I shall feel repaid in having indirectly added to 
that social recreation which enables us to return with 
greater zest to the more serious duties of every-day life. 





















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CONTENTS 


85 act X. 

PAG B 

INTRODUCTION I 

HOW TO BECOME A VENTRILOQUIST I 3 

vent: drone: — the foundation of voice throwing . 14 

IMMEDIATE ILLUSTRATIONS OF ITS USE: — DISTANT SHEEP, 

ROOKS, DOGS, ETC- 1 6 — 1 7 

DRONE VOWEL PRACTICE— FOR ARTICULATION 1 7 

ECHO PRACTICE — FOR TRANSITION FROM VENT : TO NATURAL- 1 7 

VOICE THROWING “ABOVE” TO “LEVEL” 19 

„ “LEVEL” TO “BELOW” 23 

„ “LEVEL” TO “DISTANT LEVEL”. . . - 24 

POSSIBILITIES AND LIMITS OF VOICE THROWING 25 

RESUME ON PRESERVING THE HEALTH. 26 — 2/ 


4 

part n. 

NEAR VENTRILOQUISM 28 

CARICATURE VOICES . . . - 3 1 

THE THEEEK VOICE 3 1 


Contents 


x 

PAG^ 

GRUNT VOICE ' . . . 34 

GHOSTLY VOICE 34 

LITTLE GIRL 35 

NEGRO i 35 

YANKEE, FRENCHMAN, ETC 36 


part in. 

ENTERTAINING 37 

SPEECH WITH STILL LIPS . 38 

VENTRILOQUIAL ACTING 4 1 

VENTRILOQUIAL VOCABULARY 53 

ILLUSTRATION 57 

AMALGAMATION OF “NEAR” AND “ DISTANT ” .... 64 

EXPLANATION 69 

ILLUSTRATION 7 I 

DARK ROOM SEANCE 74 

OPTICAL ASSISTANTS 76 

SPECIAL OPTICAL ASSISTANTS 84 

FIGURE WORKING. 8 $ 

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I 

Part IV. _ 

VOCAL MIMICRY 92 

COCK-CROWING 93 

DUCKS 94 

» 

PARROT 95 

CAT 95 

BLUEBOTTLE 96 

CIRCULAR SAW MILL 97 

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Contents 


XI 


PAGE 

DONKEY 98 

WIND 99 

SAWING WOOD. . 99 

WATER * IOO 

TEARING CALICO IOO 

SQUEAKING DOOR OR GATE * # . . IOO 

MUSICAL INSTRUMENTS 10 1 

BANJO 102 

XYLOPHONE 103 

TROMBONE 105 

CORNET I05 

MUSETTE . . 107 

ITALIAN PIPE I 108 

CLARINETTE I08 

* CELLO * 109 

BASS FIDDLE II3 

BASSOON 1 14 

CYMBALS . . I M 

DRUMS U 3 

AUTOMATA I I 3 

VENTRILOQUIAL FIGURES, ETC 11 C 

AUTOMATA Il6 

FLAT HEADS ' 1 1 8 

TALKING HAND 1 I Q 

HAND HEADS 1 1 9 

KNEE DOLLS 120 

LITTLE GIRL I 2 J 

UNRULY BOY 12 J 

NIGGER . 122 

STATIONARY FIGURES: HALF SIZE 1 27 

ANIMAL AUTOMATA I35 

PIGS 135 

CAT 136 






































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V 































- V 


VENTRILOQUISM. 


PART I. 

GENERAL INSTRUCTION. 

Introduction. 

In order to be more concise in my directions when 
I come to the practical acquirement of Ventrilo- 
quism I first allude to the art here in a general 
way, contradict accepted fallacies, and dispose of 
the astonishing amount of nonsense that has always 
been associated with it. If I did not I should be 
forced into irritating digression where pertinence 
was necessary, or possibly leave the reader to 
wonder why I had not told him to do what was 
impossible, or allow him to imagine, on the other 
hand, that I was inducing him to try and acquire 
by cultivation what was solely a natural gift. 

The word Ventriloquism, according to its deri- 
vative significance means “speaking from the 
belly”, but the reader, who may feel some natural 
alarm for his digestion, may accept my assurar.ee 

(i) 


2 


Practical Ventriloquism. 


that it isnothing of the kind; thestomach has more for- 
cible means of making its wants known than speech. 

The Dictionary meaning which best describes 
it says that it is — “ the imitation of distant sounds.™ 

The reader immediately recalls to his mind 
scores of “ Ventriloquists ” who never imitated 
distant sounds during their entire entertainment, 
but simply relied on the proximate vagaries of 
speech of an assortment of mouth-moving auto- 
mata to which they supplied conversation. 

This anomaly — which I admit — is coeval with 
the introduction of Ventriloquial Figures, that 
permit the art of Ventriloquism being eliminated 
from Entertainments bearing its name; the drol- 
leries of the Figures offering the variety that 
“voice throwing” did before their invention. 

As a matter of fact, there are really two distinct 
kinds of Ventriloquism — “near™ and “ distant ”, 
acquired by methods, utterly dissimilar, and being 
so acquired they become distinct accomplishments, 
and must be studied as separate arts under some 
such distinguishing title as I have given them. 

It is obvious that for purposes of entertainment 
no ventriloquist would confine, himself to the 
imitation of distant sounds alone as his illustra- 
tions would lack variety and contrast, so he has 
cultivated the imitation of near sounds of a gro- 


Practical Ventriloquism^ 


3 


tesque character, and introduced these to set off 
his distant effects, and these near sounds being 
merged with the distant have come to constitute 
what was known, even before Figures were thought 
of, as a Ventriloquial Entertainment. 

The “ near ” Ventriloquism, as I term it, is what 
the Figure Worker, in the majority of cases, relies 
upon altogether with which to work his puppets; and 
precisely the same class of Ventriloquism, (“near”) 
is also used by the Ventriloquist to give variety 
to his distant effects by proximate sounds, which 
brings about a confusion of nomenclature which 
I explain, not to bring disparagement on the 
Figure Worker who employs “near”, nor to give 
pre-eminence to the Ventriloquist who employs 
“ distant ” and “ near ” but to obtain a necessary 
Classification for purposes of tuition. 

The use of the term Ventriloquism for the 
imitation of near sounds, articulate and inarticulate 
vocal mimicry and instrumentation is sufficiently 
Correct for the general public, but it is confusing 
to the student; • who, though he may employ them 
under the common title, must study those he 
fancies separately as what they are, and blend 
them together with artistic regard to contrast and 
effect, when he presents them as a Ventriloquial 
Entertainment. 


4 Practical Ventritoqmsm . 

C 

The reader may give illustrations of Ventri- 
loquism (“ distant”) alone if he elect to, “ near” 
alone, “mimicry, or “instrumentation” alone, and 
he could call such illustrations “ a Ventriloquial 
Entertainment” without fear of contradiction, but, 
in this work, I give all the varieties, explain 
how they should be presented, and it is the 
reader’s fault if he do not make his entertain- 
ment one in the fullest sense of the term. 

An advantage in the classification that I have 
adopted I might mention here, which is, that 
should the reader’s ambition be to Ventriloquize 
with Figures he can p^s over Part I, and com- 
mence at Part II. 

If again he wants to imitate an instrument 
introduced into a song he can pass over Part I. 
and Part II and come to Part III, which remark 
would apply should he wish to imitate wood sawing 
boiler filling, etc. 

My feeling in the matter is that the reader 
having bought the book should try the whole 
course, which he doubtless will, as it is only by 
doing so that he can discover the extent of his 
aptitude and the direction of his talent. 

The reader will not be able, therefore, to decide 
at once what sort of Entertainment he can give 
best, though he may make a selection, because 


Practical Ventriloquism. 


5 


he cannot know without a little experimenting 
what best suits him. 

There is no harm in his availing himself of my 
classification to commence with that for which 
he has taken a predilection, but I would warn 
him against purchasing a lot of Figures until he 
is quite certain of what he really intends doing. 

The reader cannot do wrong in studying the 
entire course, because, though he may decide to 
employ Figures which do not of a necessity 
demand more than “near” ventriloquism, if he 
has studied “distant” and “mimicry” his enter- 
tainment is enhanced by their introduction, and 
it certainly is an advantage, if called upon to do 
some Ventriloquism, to be able to accomplish it 
with ' the ordinary assistants of a room, instead 
of his having to explain that he cannot because 

( 

he has not brought his dolls with him. 

“Distant” Ventriloquism need not necessarily 
be the imitation of distant sounds, as the ven- 
triloquist may imitate a man in a box which gives 
the same result phonetically. 

In working “ distant ” with Figures he may, 
under properly arranged provocation, clap his 
hand on the old man’s mouth, when he would 
use the “distant” voice and make him say as 
he does so. 


6 Practical Ventriloquism.. 

a 'Ere, I can't breather' 
reverting to “ near " as he removes his hand when 
he 'would simulate gasping for breath and make 
the old man say, as he looked at him 

“ 2 say, guv' nor, ye nearly smothered me.* 
Vocal mimicry can be also introduced by the em- 
ployment of a mechanical Dog, such as is introduced 
by Leo the' well-known Ventriloquist, or vocal 
Instrumentation by making the Little Girl play a 
violin, the Nigger a Banjo, or letting the old man 
imitate. Dog, Fiddle, or Banjo. 

Voice throwing can be introduced by letting 
the old man call to his pal on the roof, or by the 
Ventriloquist at the old man's request giving a 
few illustrations of Ventriloquism, when the old 
man interrupts, praises, and criticizes the perfor- 
mance, which arrangement makes it appear to the 
uninitiated that the Figures’ .talk is not Ventrilo- 
quism, but their real utterances, as you have 
otherwise the Ventriloquist himself commenting 
on his own performance. 

The reader may wonder why he should use 
Figures if they can be dispensed with, or why 
he should not use them if they can be procured. 

The advantage of Figures is that they permit 
the use of a set dialogue, that they amuse 
the eye as well as the ear, that they make the 


Practical Ventriloquism . 7 

Ventriloquist independent of local surroundings, 
that they do not require so much effort on the 
part of the performer when entertaining, and that 
success with them is more easily attained. 

The advantages of Ventriloquism without Figures 
are that the performer is not obliged to carry luggage, 
that he gives a more artistic form of Entertainment, 
and is always prepared to give an exhibition of 
his skill whenever or wherever called upon. 

The uncertainty of the surroundings when enter- 
taining makes the unaided Ventriloquist’s work 
difficult. 

He may have arranged to give an imitation of 
a burglary being committed, voices in furtive 
tones outside the window, after the policeman 
has been heard saying “ good-night ” to the 
cook till his voice has died away in the distance. 
He intended to have introduced his imitation of 
sawing wood, breaking glass, etc., and there is 
no window that he can use! 

To show the importance of assistant surround- 
ings let us suppose that the Ventriloquist has 
a screen by which he stands and uses “near.” 
The onlookers hearing voices and not perceiving 
that the Ventriloquist moves his lips would con- 
clude that there was someone behind the screen 
speaking, and further, supposing that the screen 


8 


Practical Ventriloquism . 



did not quite touch the ground, and the on- 
looker perceived feet, he would be still more con- 
vinced that someone was there, but turn the 
screen round and the best ventriloquism would 
be ineffective! 

A question almost invariably put to me after 
giving illustrations of Ventriloquism takes this form: 



“Is ventriloquism a gift or can it 
be acquired?” 

The entertainer let loose on a startled society 
at store prices, or kept in stock on account of 
his friendship with the clerk of a Bond Street 
ticket-office, would probably reply with character- 
istic abandon of modesty: “It is a gift” and leave 
his questioner to infer that he is one of those 


IO 


Practical Ventriloquism. 


mortals specially selected by a discriminating 
providence to exemplify the prodigality of her 
gifts, and sent by the agent to evidence, the 
moderation of his charges for heaven-bom genius 
in white tie and swallow-tail. 

The question is not, however, so easily answered 
off hand, for it is both in varying proportions. 

A “born ventriloquist” is an obvious absurdity ! 
Did anyone ever have, see, or hear of a baby 
ventriloquist? 

I have tried to find one but have not been suc- 
cessful. I have applied personally to the ancestors of 
ventriloquists but have not succeeded in discover- 
ing the progenitors of this rara avis. Unfortunately 
the early histories of the majority of professors 
of this art are so involved in obscurity that 
statistics are difficult to obtain. 

I have interviewed my old nurse, who knew 
my mother before I did, and she says that though 
i would eat coal whenever opportunity presented 
itself I never did any ventriloquism in the early 
stages of my career. If I wanted’ food, or a pin 
hurt me 1 intimated the fact to the household, 
and the neighbourhood generally in an unmistake- 
able manner, but I did not employ ventriloquism. 

It would naturally take a baby longer to learn 
this art than an adult because it must first learn 


Practical Ventriloquism. 1 1 

to talk— just as it must nrst walk before it can 
skate, and crawl before it can walk. 

The duckling that swam, or the chicken that 
could peck directly it broke the shell and emerged 
from the egg, never were and never will be hatched, 
any more than the baby will be born who an- 
nounces its entry into the world by giving a 
ventriloquial entertainment to its astonished 
parents and their medical attendant. 

I shall therefore compliment the intelligence 
of the reader by assuming that he «• admits the 
absurdity of the bom Ventriloquist theory, and 
that he will allow me to substitute for this fallacy 
such instruction as will enable him to become 
one by study and practice. 

As it would be equally absurd to deny that 
natural aptitude and qualification do not also exist, 
I shall descend to the common or garden simile 
and say that you cannot get anything from a 
mine without digging for it, you may find gold, 
silver, slate, or useless earth, but you must dig 
to know what your mine really contains. The 
mine is your physical qualifications and, as good 
engineering and energy develop the resources of 
a mine, so will assiduity and good instruction 
develop your vocal organs and gain you the 
best-results from your mine of possible ventriloquy. 


1 2 Practical Ventriloquism. 

It is precisely the same with Ventriloquism as 
with any other art, but so persistently is this 
“nascitur” versus “fit” question put to me in 
iny professional experience that I am sure it is 
the question the reader will require me to answer 
before he settles down to gain by study that 
Ventriloquial proficiency which is not his nor 
anyone else’s by inheritance. 

I must be pardoned if I appear to dwell at 
too great length on this point, but I must upset 
generally accepted theories I know to be erroneous 
and establish the fact that Ventriloquism is an 
acquired art, otherwise there is no reason or service 
in half this volume. 

Whatever success is obtained, even by the so- 
called born Ventriloquist, it is obtained by some sort 
of practice , essay, experiment or what he please 
to call it. C Attempts are made to throw the 
voice — to make it sound at a distance, nearer, 
below, above and he continues such attempts 
until he discovers how to produce the effects he 
requires all of which attempts are virtually a 
traming to acquire ventriloquial speech. 

In this groping after what should be attained 
scientifically the throat will suffer, however, and 
the vocal orgcns will be needlessly injured. 

Though the rt der may want to ventriloquize 


Practical Ventriloquism. 


!3 


at once by the mere revelation of a secret, such 
a thing is impossible. 

There is no royal road to learning anything, 
and it must be patent to anyone that it is much 
more sensible to adopt an approved course of 
study that offers the most rapid attainment of the 
art without injury, than to flounder about in blunder- 
ing experiments that are certain to harm the vocal 
organs and equally certain to produce an imper- 
fect and unsatisfactory ventriloquial result. 

How to become a Ventriloquist. 

By Ventriloquism, as I use it in an unqualified 
sense, I mean the power of imitating distant 
sounds and in teaching you — I will ask permis- 
sion to use the second person instead of the third 
while instructing — you become under this heading 
a Ventriloquist in the true and original sense of 
the term. 

The quality of a distant sound is that it is 
distant, not a near sound made piano. It is a 
sound obtainable by placing the vocal organs in 
a certain position. If I described that position 
Surgically you could not achieve it, because, even 
if you understood the terms I employed, you have 
no power over the organs mentioned to fix them 
as you desired. 


4 


Practical Ventriloquism. 


I will at the risk of being indelicate give you 
such advice as cannot be misunderstood, and 
which, if followed, must place your vocal organs 
in the position they should be for Ventriloquism. 

“The Ventriloquial Drone. ” 

To acquire this take a deep breath and holding 
it make a reaching sound at the back of the 
throat, as though trying to be sick, as you do 
“this utter a prolonged “ah” exhaling slowly. 

The “ah” will at first be a grunt, but try 
again making a greater effort to produce a reaching 
sound prolonging the “ah” — when it begins.to sound 
like an uncertain drone — and finally settles down 
to a sustained clear hum like that of a distant 
bee drone , from which it derives its name. The 
further back in the throat the sound is made the 
more distant will it appear to the listener, and 
the more forward in the throat it is made the 
nearer will it appear to the listener. 

You may not get the Ventriloquial drone at once 
but you will with a little practice. When you 
hear that clear drone you may know that you have 
your mouth as it should be for Ventriloquism 
but until you do produce that you must hark 
back and try again, because, unless .this founda- 
tion is laid properly all that follows is unsatis - 


Practical Ventriloquism. 15 

factory and yoair ventriloquism will lack that 
distant quality to obtain which is to be a Ven- 
triloquist.. 

Practice on the bee drone enables you to 
sustain the vocal chords in positiqn and famili- 
arises them with their novel and unnatural duties. 

When you hear a man throw his voice and it 
wavers about, the effect is unnatural, and shows 
that he has gained his knowledge haphazardly, for, 
by practice of the drone and scales the requisite 
command is obtained, and this uncertainty avoided* 
as is also avoided that painful straining which 
results from an ignorance of how to produce the 
distant quality of sound required; 

When you have acquired the drone, and know 
it is right , you *■ will be inclined to attempt voice- 
throwing with vocabulary, etc. Your success 
will probably surprise you and lead you wrong, 
so don’t — at least don’t do much at present or 
you will do harm. 

The acquirement of the “ Drone" is the acquire- 
ment of all distant sounds. 

To illustrate this at once you shall imitate 
distant sheep but once for all whatever you imitate , 
wiitate nature. In imitating a bee you imitate 
the sustained hum of the insect’s rapidly beating 
wings. It is a continued sound only altering as 


1 6 Practical Ventriloquism. 

the insect approaches or recedes, but in imitating 
a flock of sheep you irpitate a number of sheep, 
each with a different sound, made in a different 
locality, some following quickly on others, some 
after a pause. In making the bee drone approach 
it must be done gradually, in fact at the rate a 
bee progresses. With sheep it may or may not 
be a sudden change of distance, as when a ewe 
bleats near to you and a lamb at some distance 
replies, or when a number of sheep near bleat 
almost together. 

If you substitute for the prolonged “ah” of 
the bee the short “bah” of the sheep you will 
find no difficulty in giving the effect of sheep 
outside a window or in the remote distance. 

Rooks. 

The principle of imitating a flock of. rooks is 
akin to the imitation of sheep. We are accus- 
tomed to hear both in flocks, with this difference, 
that the rook, for reasons of his own, is usually 
heard only at a distance, and the sound when 
you become more skilful should be an overhead 
as well as a distant sound. It is these niceties 
that raise Ventriloquism to an art and charm the 
listener. The method of throwing the voice 
overhead will be found fully explained later on, 


Practical Ventriloquism. 


17 


I do not introduce it here, as I am only now 
illustrating the value of the “Drone” in it sim- 
plest form. 

“Dogs, Cock, etc.” 

If you can mimic the sound of a dog barking 
near you have only to assume the “drone” 
position to make the sound appear outside (distant) 
and the same with the crow of a cock. 

Drone vowel practice. 

THOUGH “ah” or a is the most useful vowel, as 
will be seen by the foregoing distant imitations, 
it is insufficient alone when we imitate speech 
which of course employs all the vowels. If you 
merely practice on “ah” and then employ speech 
without practising equally on the other vowels 
your illustrations will be imperfect, because you 
will have but an imperfect command over the 
unpractised vowels. Instead of droning on “ ah ” 
substitute the other vowels, until they become 
equally easy to produce and sustain. 

Echo practice. 

This is to obtain a sudden transition from 
“ Vent: ” to “ natural ; ” from its resemblance to an 
echo, its studv is so named. 


i8 Practical Ventriloquism. 

Commence by saying “Ah!” “natural” following 
it by “ah!” “Vent:” not as a prolonged drone 
but staccato fashion, and practice this with all the 
vowels. 

This practice enables you to give with ease 
those effects, where, for instance, you speak to 
someone outside a window, one voice “ natural” 
is your natural one, the other is the Vent: and 
the change from one to another must be rapidly and 
constantly made, which facility is obtained by 
“echo” practice. 

The principle you will notice is one observed 
in singing when the vowels are used instead of 
words for practice. If you avoid words your 
faculties are all centred on obtaining proper con- 
trast and your vocal chords learn their duties 
without being disturbed by the business of the 
tongue and lips, and a much more satisfactory 
result is obtained. .When words are added the 
effect is heightened, but, if words are introduced 
at first, they only deceive the student in regard 
to his progress. 

Having secured the distant effect with the vowels 
in close contrast to the near, substitute “Hullo” 
for vowels, and the effect of an echo is increased, 
not because you have suddenly improved your 
ventriloquism, but because “ Hullo ” is the natural 


Practical Ventriloquism. ig 

way of testing- an echo. At an earlier stage this 
would satisfy you even though imperfectly done 
and prevent you excelling in the ventriloquial 
effect, as you would be satisfied with the dialogue 
effect, and to your untrained ear the “ Hullo ” 
with the Vent: acquired by drone would be good 
enough to deter you from further effort. When 
I say “ you ” I am addressing the average pupil 
as he appears to me from my experience. Tfyere 
are pupils who prefer to secure the ventriloquial 
effect before they use vocabulary, but they are 
not in a majority, for nearly all want to paint 
before they can draw. 

In making the Vent: reply you will find that 
you cannot aspirate the H in “ Hullo * so do not 
attempt to, nor feel disappointed if you cannot. 
The possibilities of Ventriloquial dialogue are 
treated of in their place under “ vocabulary ” so that 
a passing reference is all that is necessary here. 

“ Above ” to “Level.” 

It is a very commorl thing for Ventriloquists 
to remark, after throwing the voice to the roof, 
that “ the man can’t get down because he has 
no ladder'. 2 ’ This is not the real reason, which 
is that the Ventriloquist wants a little instruction. 
He has gained his effect by accident, and, not 


20 


Practical Ventriloquism. 


understanding "the instrument he is playing on 
his technique is limited and like the self-taught 
fiddler he never gets beyond the “ first position.” 
This always seems to me a pity both for the 
public, and the performer, to say nothing of the 
art itself. 

Although I have tested this matter before, 1 
remove my cigar from my mouth as I am writing 
and throw my voice to the room above and the 
sound is there. There appears an isolation, if I 
may use the term, between the voice above and 
myself sitting at my desk- I have not used the 
Drone pure and simple though I have retained 
the Vent: formation of the vocal organs. I have 
used the Vent: method and so produced the distant 
effect, but, instead of the back production I have 
forced the sound against the back of the hard 
palate, see fig. 3, this makes the sound appear to 
come from above,— as you make this sound you 
can feel the percussion of the sound striking the 
palate — and as the voice descends from “above” 
to “ level,” you send the sound against and round 
the back of the mouth (figures 1, 2, 3 and 4). 

1 This is extremely interesting to the student, as 
it shows that what is done in the mouth is repro- 
duced in effect, and though like a magic lantern, 
the picture is enlarged on reproduction, it must 


Practical Ventriloquism. 


2 1 



be properly placed in the lantern as the sound 
must be properly placed in the 'mouth. 

As you think of the man coming down — and 
always do think of him— so project the sound 
against the top and back of the mouth until your 
“ above ” descends to the ordinary drone position 
when the voice will sound on a level with you 
and be what I designate “Level.” 

You will find after practice that you have a 
diapason of from five notes to an octave which 
constitutes the “ Above to Level ”, which diapason 
must be secured by scale exercise with the ordinary 
drone. You commence with “ah” but instead 
of producing it unreverberated at the back of 
the throat you reverberate it against the top and 
subsequently against the top back, and back of 


22 


Practical Ventriloquism. 


mouth as I have indicated. To obtain this “ above ” 
sound practise “ ah ” and then on the other vowels 
vyithout distracting your attention with vocabulary. 

IF you try speech, to see how you progress, 
there is no harm in that, but do not practice 
faith speech at first. 


Dialogue “above” to “level”. 

Vent: 

*“Jack! Jack! Jack!” 

Jack: 

“ ’ Ullo ! ” (above) 

Vent: 

* “ Are you there ? Are you there ? ” 

Jack : 

“No, I’m ’ere” 

Vent: 

“ Will you come down, please ? You’ll 
find a ladder — I say you’ll find a 
ladder.” 

Jack: 

“ All right. Keep yer ’air on — I’ve 


got it.” 

Note— As 

a rule be more loquacious in your 

natural 

voice than in the Vent: voice, it is 

less fatiguing, and the audience appreciate 
most that of which they get least. 

Vent: 

“ Come afong ” 

Jack : 

'‘All right I’m coming down now.” 


“ I’m coming down now ” is repeated as the 
voice is brought down. It is a suitable sentence 

* The name is repeated as though calling to some one, pausing 
after first “Jack” and speaking sharply for third, and so with 
repeated sentences. 


Practical Ventriloquism. 


2 3 


for the purpose and its simple repetition is best, 
because the listener is amused at the descent of 
the voice, and not at what is being said. The 
“come along” of the Vent: always the same 
pitch, acts as a foil to the other. 

Jack: “Oi be down now.” 

Vent: “That’s all right,” 

which two sentences when level is reached. would, 
for instance, finish the illustration. 

In singing the “ above ” to “ level ” drone, my 
voice gives this scale, but the first five notes 


-0 -% — i J ! 

i — - 

" 1 1 1 •""" 1 : 

■%=.% d « 



...... 

1 

| 




1 — u 


only are really quite satisfactory. 

When the “ above ” to “ level ” is secured the 
voice must be made to descend below. In enter- 
taining, the change of position of the vocal organs, 
necessary to allow the man to continue his jour- 
ney into the cellar, is covered by suitable busi- 
ness at the door, or window as hereafter illus- 
trated. 

“ Level” to “ Below”. 

The principle is the same as the “above to 
level ” but more difficult to explain. Forget that 
you know anything about the “above” voice, 
and begin with the “ Level ” stretching your 


2A 


Practical Ventriloquism. 


neck out to its natural length, and as you wish 
the voice to sound lower shorten your neck until 
your chin rests on your chest. Practise this with 
three notes on “ ah ” making the sound down the 
throat and not against the palate . 

The stomach is drawn up with the “ Below ” 
voice more than with the “ above ” and the vocal 
chords appear to me to be so compressed that 
the sound is prevented from rising and the down- 
ward effect is produced by it being forced down 
the throat. This is in substance what I said 
before, that the sound is directed by the vocal 
organs to where it is desired to be simulated, 
the muffled sound of Ventriloquism representing 
distance while the projection of sound in mouth 
suggests direction. 

When I say stretch the neck and press the 
bottom of the chin against the chest to obtain 
“ Level ” to “ Below, ” I say this to try and transfer 
my meaning through print, as when I suggested 
sickness to start the “Drone” correctly. In 
actual practice no contortions are necessary nor 
permissible. 


Level to Distant Level. 

If the voice is required to go away on a level 
the means taken to produce the “ above ” and 


/Practical Ventriloquism. 25 

a below * voices are avoided, and you neither 
speak against the palates' nor down the throat, 
but compress the chords and throw the voice 
backwards. “ Good-night ” is the best sentence 
for this effect “ good-morning or evening ” being 
unworkable- I might mention that in saying 
“ good-night ” your own voice becomes louder 
as the Vent: voice grows fainter, and the pauses 
between the salutations are longer, as would 
happen were the effect produced naturally, until 
at last you would yell, and the reply would be 
inaudible. 

Possibilities of Voice-throwing. 

This is a matter upon which there is a good deal 
of misconception. With the exception of a yard 
or so towards the listener, the Ventriloquist must 
come between the sound he imitates and the listener. 

The following diagram will explain the limits 
of voice-throwing. V represents the Ventriloquist, 
L the listener, and the figures 1 to 16 the extent 
to which the art of voice throwing is possible. 

From 1 to 1 2 the voice can be thrown until it 
becomes inaudible, from 13 to 1 6 if you attempt 
to throw it more forward it becomes yours, and 
returns to you. If the Vent: voice be thrown 
forward, or follows 1 to 12 in a close radius it 


26 


practical Ven triloqu ism , 



must be thrown into a box behind walls or inside 
a listener, etc., as 'it is obvious, that if you use a 
Vent : or distant voice it must either be subdued 
by the effect of distance, or covered to suggest 
that effect. To throw the voice forward and not 
suggest a reason for the Vent: voice would be 
unnatural, as any voice nearer to the audience 
than your own would be louder . 

So many experiments can be given that as- 
tonish people, that it is not necessary to explain 
its limits to an audience but show its capabilities. 


Resume. 

You have now the capacity of imitating distant* 


Practical Ventriloquism . 


27 


sounds, the art which originally gave rise to the 
term “ Ventriloquism. ” 

You can throw your voice to a room above 
to a cellar below, and do this without undue 
effort, also make the voice gradually descend from 
roof to cellar or go away on a level until it is 
heard no more. 

By this art, as I have said, distant sounds are 
imitated. There are many that I have not men- 
tioned as there 1 will be many that you will discover 
for yourself. I might instance the sound of a 
stone thrown on the ice, the first blow it strikes, 
and then the sound of each bound as it goes away 
till it slides along at last and finally stops. 

Should Ventriloquial practice make your throat 
ache, the remedy is simple. Do not use it ven- 
triloquially for a time. Don’t practise when you 
have a cough. Gargle with cold water with or 
without a little sea salt added. 

I next treat of the imitation of near articulate 
sounds as employed in Ventriloquism and so begin 
to build up the materials for an Entertainment. 


PART II. 


NEAR VENTRILOQUISM. 

Introduction. 

Chatting recently about Ventriloquism with 
Lord Mountmorres, he said, “ I prefer, then, 
what you term near Ventriloquism.” It is very 
unusual for anyone to say that, so I asked him, 
“Why?” and he replied, “ That in Ventriloquism 
distant or voice throwing there seems to be only 
one voice heard, — that of a countryman, and this 
man is always the individual who climbs up on 
the roof, wanders below, or ultimately with a 
volubility of salutation retires into oral obscurity. 
But with near Ventriloquism you can introduce 
more variety and, so it appears to me, create 
more amusement. 

I quote his remarks without permission, because 
they suggest themselves as being an apposite 
introduction to this portion of my subject. 


Practical Ventriloquism. 29 

The Vent: voice may be an Irishman’s but 
perhaps until the Home Rule Bill is passed the 
Irishman may be considered a countryman , and 
so the remark I have quoted holds good. 

There is, however, no variety in the character 
of the Vent: voice as is explained under vocabulary. 

In near Ventriloquism we employ what might 
be termed character voices, but what more nearly 
approach caricature voices. To attain them is 
easier than to attain the Vent: voice, though, like 
it, a certain position of the mouth must be 
acquired by practice. 

In order to deceive the listener more completely, 
exaggerated voices are used that differ entirely 
from your own, voices that would never come 
from a gentleman’s lips. These voices are not 
thrown but their locality is suggested by acting 
with the assistance of screens or curtains, or by 
the employment of talking Figures. 

The acting necessary for near Ventriloquism 
where the voice is not thrown, does not prove 
that when it is thrown acting is employed instead 
of Ventriloquism. It is this that leads to confusion 
in the general mind, but the student, understanding 
the subject, will prove to an audience that acting 
is not a substitute for voice throwing, when he 
gives illustrations of Ventriloquism, and having 


30 Practical Ventriloquism . 

done so uses all his artificer lead them to believe 
that he throws his voice when employing “ near " 
by expression and gesture. The public must be 
humbugged a little or it doesn’t like it. 

Ventriloquial Figures are used in proximity to 
the Entertainer, the moving mouths of which and 
the still lips of the performer make the illusion 
absolute, especially on a stage. 

If the reader incline to use Figures he need 
not study Ventriloquism, as the “ near ” will be 
all that is really necessary to give a successful 
Entertainment, say with two knee dolls* which he 
could do with less than a month’s practice, and with 
less strain to the vocal chords. 

As a boy I could not understand why if I 
could make D with my third finger on the A 
string I should require to make it with my first 
when playing the violin. The reason is much 
the same as learning varieties of Ventriloquism 
and that is, for additional effect as when “near” 
will do to serve for entertaining without Figures 
one also adds * distant.” 

The attainment of near Ventriloquism is not 
merely using natural speech with still lips, it is 
a more accentuated speech than character speech 
as we should understand it on the stage; so I 
have termed it B caricature ” speech which requires, 


Practical Ventriloquism. 31 

though in a modified form, the same class of 
training as is required for Ventriloquism. 

Caricature Voices. 

That piercing female voice, which in Ventrilo- 
quism is supposed to represent mature woman- 
hood, is obtained by the cultivation of what is 
termed the “punch voice.” This voice like the 
“ Drone ” is utilized for numerous effects in addi- 
tion to the speech of the querulous old woman. 
The squeaking of a door, imitation of reed in- 
struments, the metallic sound of a mandoline 
string, crowing of a Bantam, parrot, child, cat, 
lamb, etc. 

To command this quality you practise 

The Theeek Voice. 

Place the tongue against the back of the front 
teeth of the upper jaw and say Th-e-e-e-k prolong- 
ing the e’s and thinking as you do so of a swiss 
pipe, a squeaking door, the upper notes of a 
clarionet. 

It is important to get the right quality into 
the theeek voice, because you must produce 
by its practice a voice that startles with its strange- 
ness. I try myself to fail to get the sound 
when following my own directions but I cannot. 


32 Practical Ventriloquism. 

so conclude they are correct.' I have referred to 
the sound being like the sound of a reed instru- 
ment, and it is not only like it but is made in 
the same way. If you play a clarionet you 
press the reed with your mouth before it will 
sound, and so you press your tongue against 
your teeth and palate and produce the sound in 
a manner identical to the production of the 
instrument and containing in consequence the 
same quality of sound.. 

The “ punch ” voice of the streets is produced 
by a “call” being placed in the mouth, but the 
character is the same. * 

Try the following dialogue at a curtain. 

Vent: “You may not be aware of it, ladies 

and gentlemen, but there is an old 
woman behind this curtain. 

O. L. “What do you call me?” fusing 
punch voice.) 

Vent : “An old lady, I should say. ” 

O. L. “That’s better.” 

Vent : “I want you to sing.” {putting arm 

behind curtain .) 

O, L. “ Take your arm away — I know what 
you are.” 

* A further illustration might be given of the boy who puts 
a leaf in his mouth. 


Practical Ventriloquism. 3 $ 

Vent. “I was only — ” 

0. L. “ Yes I know all about it so don't do 
it again.” 

Vent: “Will you sing?” 

O. L. “ Yes, I’ll sing out, if you put your 
arm round my — eh? — oh, I did not 
know there was anyone there. ” (Sings.) 

“I dreamt that I dwealt in marbil ’alls, 

With tassels and scarfs by my side — ” 

Vent: “ Vassals and serfs.” 

O. L. “Tassels and scarfs.” 

Vent: “Vassals and serfs.” 

O. L. “ Tassels and scarfs. ” 

Vent: “Vassals and — ” 

O. L. “ If you know so much you’d better 
sing it yourself.” 

If you are not satisfied with your old woman’s 
voice, or the audience are not, revert to the 
“Theeek” practice, prolonging the Theeek and 
making it reedy and metallic until you impart 
this quality without effort, to any Ventriloquial 
dialogue or imitation that requires it. I don’t 
want you to practice “Theeek” a moment more 
than is necessary, because such practice is irksome, 
and for that reason it is apt to be passed over 
and discarded before the voice is formed; its 
employment, as it were, creates, but I want it 

3 


34 Practical Ventriloquism , . 

practised until it can be used with vocabulary with- 
out losing its character. As a contrast to the 
punch voice we use the 

Grunt Voice. 

The tongue lies flat and the whole of the vocal 
chords lie loose, and less effort is made to speak 
than would be made naturally, as the words are 
simply grunted at the back of m outh, the lips are 
still, and only the back of the tongue is used, the 
tip lying still at the back of the front lower teeth. 

The voice is a caricature of old men you hear 
sometimes, who have lost command over tongue 
and lips and speak with open mouths. 

The grunt voice is used either with Figures, to 
supply speech for “old man” in contrast to the 
reedy sharp voice of “old woman,” or for the same 
purpose when the same couple are suggested 
behind a screen. These two form the staple fun 
in Figure working, as, however many Heads or 
Figures are introduced, these two voices are used 
most continuously. 

Ghostly Voice. 

This is the grunt without the grunt, a sort of 
hoarse whisper — a voice destroyed by chronic 
hoarseness and drink. It is effective in sug- 


Practical. Ventriloquism. 


35 


gesting the loafer and cadger, and it only requires 
a little suitable dialogue at a partially opened 
door to suggest to -people in a room that-you 
have outside the cadger of the street corners 
trying to beg, borrow or steal. 

I said partially opened door because you cannot 
ventriloquize a whisper. This voice is not a coun- 
tryman’s — nature does not permit the necessary 
degradation the ownership of this voice neces- 
sitates— the character of voice is the product of 
large cities. 

Little Girl. 

For this we revert to the punch voice only if 
possible do not make the voice too reedy, but 
like a* child’s. A child, or in fact the young of 
all animals, uses a high key to speak or make 
the sound peculiar to itself. A lamb’s bleat only 
changes when the lamb becomes full-grown, so the 
Little Girl’s is much higher than the Woman’s Voice, 
though the punch voice is employed for both. 

There is a certain kind of very reedy-voiced 
Little Girl that Ventriloquists employ with one 
set of jokes and humorous business, you can 
either copy that Little Girl, jokes and all, or pro- 
ceed in a more artistic way, and imitate from 
nature any child that suits your purpose. 


36 Practical Ventriloquism. 

Negro. 

The characteristic “e-yah” laugh, and style is 
so well known, or can be so easily studied from 
the burnt-cork minstrels, that I need not refer to 
it at length here. The laugh is the principal use 
of the nigger, and with Figures is used as an 
interruption. 

Yankee, Frenchman, etc. 

These' imitations really become dialect studies 
and it would be impossible to refer to them all. 
The accepted Yankee should have the twang he 
inherits from the early puritans; he “guesses” and 
“calculates;” indulges, in exaggerated humour in 
which death and physical injury are relied upon 
to provoke mirth. The Frenchman lacks in 
aspirates what he makes up for in r’s; gives a 
sex to everything', and introduces a little theeek 
quality into terminations ending in n. The German 
puts a b where he should use a p and vice versa, 
a v for a w; but there are enough Germans in 
America to enquire from or imitate. 


PART m. 


ENTERTAINING. 

The preceding instructions enable you to Ven- 
triloquize and imitate near voices in caricature 
which, as far as speech is concerned, is all that 
you require. To amalgamate this knowledge and 
to produce a natural effect, or what is a humor- 
ous travesty of nature, is the next step towards 
giving an Entertainment. To utter sounds with 
an unmoved countenance is another, and the 
requisite subtlety and device necessary to Ven- 
triloquial acting, is again another, as* is also a 
proper selection of vocabulary. 

If X had bothered you to keep your lips still 
when you were learning to throw the voice, -the 
labial and the vocal studies would havejnterfered 
with each other, and the requisite concentration 
of mind would not have been secured, and you 
would not .have learnt to think in your throat and 
been able to move the soft palate, tongue, etc,, as 
ypu now can your fingers. Doing .one thing at a 
(37) 


38 


Practical Ventriloquism . 


time is a good rule for Ventriloquism, and the 
bundle is easily broken if it be undone and each 
stick taken in turn. We will now learn the art of 

Entertaining. 

\ 

The first essential to deception, that is to induce 
the listener to absolve you from participation in 
the voices behind screens, or that proceed from 
the mouth of automata, is to acquire. 

Speech with still lips. 

The unguided student in this matter gives 
himself a lot of unnecessary trouble because he 
does not start with the knowledge that only a 
selected vocabulary can be spoken without moving 
the lips. He hears a Ventriloquist with still lips, 
carry on a duologue or triologue, his critical 
faculties are not sufficiently trained for him to 
perceive how carefully the labials are expunged. 
He will return home and practice and of a cer- 
tainty use words that are impracticable, and which, 
however much he practise, he could never succeed 
in uttering, he becomes disheartened, and con- 
cludes that he “hasn’t the gift,” or something 
of that sort. Let him try and say without moving 
hisjiips- 

“The persistent pertinacity of the priesthood.” 


Practical Ventriloquism. 


39 


And he will not be satisfied with his progress 
if he try for. a pentury. If on the other hand he 
try such a sentence as-* 

w All right, guv’nor, I’m- there to-morrow. 
Good-night to you, ” he will find no difficulty. 
One of the first things to do in.not moving the lips 
is to avoid such words, that cannot be pronounced 
without doing so, ( and then to learn to prevent 
them . moving, — as they will do — when they ate 
not absolutely necessary to articulation.. A free 
use of the lips, tongue, etc., give clearness of 
speech. The squeaky voice, the indistinct “grunt” 
can all be produced by a false placement of the 
vocal organs, and in most cases 1 should say 
defective speech like round shoulders is the result 
of slovenliness. 

Practise before a glass and arrange such phrases 
as do not require labial pronunciation, until you 

t * . 

can employ Ventriloquism, or “near” without 

■ 

change of countenance. 

When" you speak in your natural voice you 
employ as much as possible words that are 
restricted in Ventriloquism, which helps to conceal 
the ’ art. 

When you cease to speak naturally your coun- 
tenance changes as though you had really ceased, 
although you are still sustaining a conversation. 


40 Practical Ventriloquism. 

After a time the face changes by habit when 
you; drop tfie natural "voice. ^ 

In closing the lips it is not necessary to close 
the teeth, as I have, seen some performers do* 
which gives them the appearance of a Russian 
Cossack in active warfare, but ii is best to par- 
tially do so, which gives a natural and pleased 
expression to the face. If the mouth be too much 
open the movements of the tongue are seen. If 
the teeth are clenched the tongue is not seen; 
but the sound cannot leave the mouth, so a 
middle course must be adopted, to which end a 
mirror can direct you better than I can. 

There are times during an Entertainment when 
it is possible to use the lips,' such as when the 
business permits you turning your head away 
from the audience. These chances should be 
seized upon and the proscribed words used vigo- 
rously. 

If you pick anything up front the floor your 
head is down so the old man might say: — 

“ Please, Pick up that Pin , guv' nor. " 

As you have for years been moving your lips 
when you speak, you must not be impatient it 
you cannot drop the habit at once. 


Practical Ventriloquism . 


Ventriloquial Acting, 

This like the negative adjunct of speaking with 
still lips and countenance is an imjDortant aid to 
entertaining, and the sustaining of an illusion 
when carrying on an imaginary conversation. It 
I say that Ventriloquial acting is a difficult form 
of the histrionic art, the actor will laugh at the 
idea as readily as the general public conclude, 
that Ventriloquism is only acting. The latter J 
put in the dark room for enlightenment and the 
former I give in more detail the reasons for my 
statement. 

Having been principal comedian to some of 
our leading actors: — the late Chas. Calvert (sit tibi 
terra levis), a member of Henry Irving’s Lyceum 
Co., of Edward Terry’s Co., etc., etc., 1 /am in a 
position" to form an opinion on the subject, as I 
know what ordinary acting is, and what Ventri- 
loquial acting is also. 

When for instance Mr. Irving, as Mathias in 
“ The Bells, ” said to me : “ You bled me — that 
was enough,” I had only to look — while acting 
the Doctor — the medical ass I certainly felt, but 
had I been acting Ventriloquially I should, have 
had to7say to myself with the necessary intona- 
tion : “You bled me” etc,, and instead of being 


4 2 Practical Ventriloquism. 

able to express in my face what I said I must 
express what I heard though I myself said it, 
which is certainly more complex. You have 
Ventriloquial acting wheq Mr. Cole with an 
expression of nervous- enquiry examines the 
mechanical arrangements of his Figures. 

This is acting because Mr. Cole is too expe- 
rienced an Entertainer to come before the public 
with faulty automata. His anxiety and solicitude 
are assumed, and so far he acts as an actor 
would act, but he makes the old man watch 
him, and to do this, to follow his own movements 
with the head of the old man, he must have a 
dual imagination at work, which is required in a 
fuller extent when the old man appears to catch 
his master’s anxiety, and says in a whisper heard 
all over the house: “’As my string broke, 
guv’nor?” or when Mr. Cole, while acknowledg- 
ing some deserved plaudit by an obeisance, causes 
the old man to inform the stalls that the Figures 
are only made of wood. 

When Mr. Le Hay, another clever Figure 
worker has accomplished some effect; his “old 
man” looks up, and then, turning to those near, 
says: “I wonder how the little devil does it!” 

i 

The gravity of the Entertainer’s face when 
using ventriloquy is, in my estimation, more 


Practical Ventriloquism. 

creditable to an actor, than to a ventriloquist, 
vvho has made that his sole study, because in 
acting the actor trains his face to express what 
he says, or what is supposed to be passing 
through his mind, the Ventriloquist does not 
express what he says by facial expression unless 
he speaks in propria persona. His speech may 
include several voices in rapid succession, voice 
throwing and a sudden resumption to his own 
voice, compelling him to appropriately act the 
listener while working each Figure, and make 
them jisten to him as far as movements permit, 
which demonstrates the intricate nature of Ven- 
triloquial acting. 

I do not imply that the acting of the Ventri- 
loquist is to be compared to the histrionic deli- 
neation of great characters, because to successfully 
portray them the actor must be intellectually 
great himself, and the few who do succeed make 
their art the highest form of Entertainment pos- 
sible. But I do say that to execute difficult ven- 
triloquial feats, with appropriate gesture and with 
natural facial replies to the remarks of the voices 
created, is as difficult of attainment as acting is 
jn the ordinary way. 

Acting in Ventriloquism is of the greatest 
value, and by not confusing it with Ventriloquism 


44 


Practical Ventriloquism. 


itself it can be studied as acting. In acting you 
should imagine that you are the person *you 
assume to be, r and that you behave- as that person 
would under the .circumstances in which you are 
placed by the Author. If the characterisation of 
the author is consistent, the result is a faithful 
representation of nature, and is in- consequence suc- 
cessful. Without acting, Ventriloquism loses its 
entertaining character, just as a conjuring enter- 
tainment does, and becomes merely vocal or 
manual trickery, and though the audience are 
amazed, the effect is not so complete, so tho- 
roughly enjoyable, as if, while being amazed, they 
are at the same time charmed by the manner in 
which what amazes them is presented. 

If I had two pupils one who excelled in Ven- 
triloquism, but who was a poor actor, the other 
a good actor but not so successful a ventriloquist, 
the latter, when it came to entertaining, would 
probably become the more popular with the 
public. 

When you speak in propria persona, to the 
audience, and your remarks are followed by Ven- 
triloquy to which you listen, it is as well to 
exaggerate your natural expression so that your 
features, by contrast, appear more absolutely in 
repose afterwards, and thus people infer, without 


Practical Ventnloqu ism. 


45 


troubling to analyse their inference, that you do 
not make the sound you Ventriloquize with still 
lips because, when you did speak, your face 
moved in response to your speech. There are 
times, however, when it is more important to as- 
sume an emphatic expression of anger, surprise, or 
pleasure in response to your Ventriloquy in order 
to accentuate it, and permit its full enjoyment 
by the audience. 

If the illustrations, for example, are of distant 
birds, you assume while Ventriloquizing an atti- 
tude of interested attention, made more noticeable 
by having introduced your subject with full 
expression of countenance while speaking. On 
the other hand, supposing that you are about to 
provoke some comic retort from the “ man out- 
side.” You introduce the illustration in a serious 
gentlemanly way, so that his impertinence comes 
with sharper contrast, and your exaggerated 
expression of anger, etc., is more effective because 
not indulged in previously. 

In receiving an impertinent answer your annoy- 
ance will make the audience laugh, but remember, 
that although you make the reply and conse- 
quently know what it is, you must act as though 
you heard it for the first time when it is spoken, 
and you must hear it first, understand it and 


46 Practical Ventriloquism. 

then illustrate by your expression how it affects 
you. The lady on the stage who opens a letter 
and exclaims the whole contents before, she could 
have read the address* must not be copied. 

After practice you cease to believe that Ven- 
triloquial speech is your own, but imagine that 
the Little Girl does speak, that the man or woman 
are behind the screen or that there is a man 
outside, and further than that by exercise of the 
imagination you create strongly marked individu- 
ality as well as vocal peculiarity in your people, 
and their replies become as characteristic as their 
tones of voice. The old lady is a virago, and 
the old man is consequently always snubbed by 
her* or the child may domineer, or the father 
and mother be too fond of exercising their, parental 
authority. Whatever family arrangements are 
decided on they must be adhered to all through, 
and the audience will recognize the consistency 
of their humour. 

In using Figures you need not imagine that 
they are there, because they are there, but you 
imagine they speak and you furnish them with 
characters, you humour them, reprimand them, 
and think, hear and see for them . As soon as 
you become accustomed to Figures your hands 
fall into position to move their heads and months, 


Practical V cn triloq a ism. 4 7 

and the 'instant you manipulate the old man, 
your vocal organs are as ready to supply him with 
speech as your brain is to invent it. Some 
Ventriloquists stand behind their Figures as stolid 
as if they too were wood, but this is not an 
artistic method, as^ with it, acting is dispensed 
with and the entertainer might jus‘t as well be 
hidden behind a rag as the punoh and judy man, 
whom he imitates, for all the assistance he renders 
optically. 

In my own "show I walked^ on to the stage, 
and appeared surprised and pleased to find it 
already occupied, shook hands with the old man 
(whose arm moved) and heard from him how 
they- had all come down by train, the discomforts 
of travelling in a. box. arid then, from that intro- 
duction, mixed myself with the Figures and got 
to work. 

To come on to the stage, bow, examine the 
strings and then explain that you intend to give 
a Ventriloquial Entertainment, is a style of pro- 
ceeding that worries me Tor days afterwards; it 
■is so “ not horn to do it * 

Ventriloquial acting without Figures is some- 
what more intricate and demands more resource 
on the part of the performer than when 
fee emplbys these ' amusing . assistants and 


48 Practical Ventriloquism . 

the performer who arranges his own dialogue 
must use his imagination as a play-wright does, 
or should do, always preserving in his mind that 
he is acting a little comedy, all the characters 
of which are merely heard, one of which himself 
alone is seen, an arrangement the average actor- 
manager would consider dramatic paradise. 

May I illustrate this? 

Vent: “Ventriloquism, ladies and gentle- 

men, some say is a gift, so it is, 
that is, if you pay those you employ 
when you humbug the public into 
believing you can throw your 
voice. I will let you hear me throw 
my voice into the garden. It is 
raining, but my remarks are so 
dry that ” — (< at side of blind and to 
someone outside ) — “Are you there?* 
— “ All right, I’m ’ere. ” 

Vent : “ Will you sing ? ” ( with back to au- 

dience at vnmdow.) 

— Sings : “ I love a pretty girl, ’er 

name is Bella. I wish as ’ow I'd 
got her new umbrella.” 

(The Von Ids back is turned so he uses the 
word “pretty,” cmd his lips to thew fullest extent. 
The attitude is a natural one % as cmy 'me would 


Practical Ventriloquism . 49 

go to a window to speak to a person outside. If 
the Vent: did not y his work, however good , , would 
be less effective.) 

Vent: “Very clever song but very short.” 

— “ Long enough before you ’ear it 
again” 

Vent: ( carelessly turns a slot of the blind , , 

as he does the voice outside exclaims 
simultaneously with the action ,) 

— “ Oh, there’s a pretty girl— who’s 
that old chap with the bald head,” etc. 

(The Vent: has in his opening address no- 
ticed any prominent object animate or inanimate , 
which he alludes to as he adopts the man’s voice 
outside and moves the. slot. The exclamation of 
the man on getting a peep into the room is 
quite natural if we allow him to be there at all, 
as are also his impertinent remarks on the com- 
pany. The Vent :’s back being turned the illusion 
is increased, as it is not suggested that he is 
looking into the room, and the idea that he has 
previously noticed what he intended to remark 
upon does not occur to the audience. He closes 
slot annoyed at the remarks from outside and 
the voice immediately says: 

— “You needn’t shut the door in my 
face that way, guv’nor.” 


4 


50 


Practical Ventriloquism. 

Vent : (To audience) “I am distressed beyond 

measure to have subjected you to 
these impertinent remarks, blit it 
is so difficult to get men of imma- 
culate manners to assist me in my 
Entertainments that” — (with hand 
behind him Vent: knocks at window) 
“What is it?” (turns) 

“Oi be a-comin’ in.” 

~Vont : ( Gettingunder Venetian blinds) “No.” 

— “ Oi says yes Oi be a-comin’ in. ” 

Vent: (Louder) “ No, you can’t come in you 

•are not dressed.’ 

— “Do you think oi got no clothes 
on?” 

Vent: “ Your boots are muddy — you can’t 

come in.” 

— “ Oi b£ coming in.” 

Vent: “No.” 

— “ Yes, Oi be (raise window and 
use near gruff voice) Oi be cornin’ in. 

Vent: (As“ if pushing him out. The blind 

shakes about and looks as if there 
was someone trying to get in at 
the open window , then loud voice, 
struggle.) 

— “ Here’s the dog, I must come in. 


Practical Ventriloquism. 5 j 

Vent: “ No.” 

— “Yes.” 

Vent? ‘No.” (Push, shut down window). 

“ I say, guv’nor, you got my 
thumb in the window,* (open window 
and shut it) oh, don’t it hurt! (bark 
distant } here’s the toy terrier cornin’, 
good-night, good-night.” 

(The good-night and bark die away in the 
distance and the Entertainer emerges from the 
blinds and if he has done his work cleverly he 
7vill get well applauded.) 

In this illustration we have Ventriloquism but 
also in my opinion, if I may refer in terms of 
approval of my own work, an artistic presentation 
which sets it off. 

In making allusions in reference to the audience 
as instanced by the man peeping through the 
opened slot, you must exercise judgment in 
what you say, so as not to offend. If a man 
appear further removed from the monkey tribe 
than his fellow creatures by having a bald head, 
this fact is usually supposed to be by the ordi- 
nary humorist a matter for ridicule, rather than 

• It is scarcely necessary to explain that the “ gruff near” voice 
is only used when the window is open, the Ventriloquist’s “distant” 
foice when the glass intervenes as window is closed. 


I 


52 Practical Ventriloquism. 

congratulation, and although I have suggested this 
remark, it is only because it is exactly what a 
low-class man would allude to, baldness with 
him, being a greater crime than drinking. 

If he says “ there be a pretty girl * the remark 
though accepted universally by all the young 
ladies present will annoy nobody. 

In this matter you must be guided by circum- 
stances. 

The responsive acting to the Little Girl should 
suggest that the person being spoken to is a 
little girl. The manner is gentler, the language 
simpler than when you address the “old man.” 
It is all these little niceties of detail that sustain 
an illusion. 

When the old man makes a demand for money 
in a whisper, the ventriloquist feeling in his 
pockets as.sumes a disturbed expression and atti- 
tude, suggesting to the audience that he is annoyed 
at such a subject being introduced, or such a request 
being made during the performance and he says, 

“You should not have asked me for money.” 

“Oh, all right, Guv’nor — if you ain’t got any.” 

(The Vent: then beconies indignant and sends 
him away.) 

These effects are of course due to the acting, 
the humour is not entirely Ventriloquial, were 


Practical Ventriloquism . 


53 


it made so it would not be so funny, though it 
would go to prove what I have said that Ven- 
triloquism is not acting, but that its effects are 
enhanced by . acting , as a well arranged accom- 
paniment aids a song, though no one would 
say that it was the song, because the song could 
be given without it, but, like the acting to Ventri- 
loquism, the accompaniment adds to the effect 
of the song, and this is really how acting stands 
in relation, to Ventriloquism 

Ventriloquial Vocabulary. 

The Vent : voice must be that of a coarse-speak- 
ing person, and in imitating a man’s voice it is 
customary to suggest an Irishman, a yokel, or some 
provincial dialect. You cannot Ventriloquize with 
the woman’s voice, nor with that of the little girl, 
though you can with dogs, sheep, rooks, etc. In 
“near” Ventriloquism the old woman’s speech 
must be common and even the child’s, however 
flexible the voice of the Ventriloquist, will not 
be the voice of an aristocrat though it is the 
least vulgar of all the voices. 

It is a matter of congratulation that the man’s 
voice is the one that can be ventriloquized, because 
supposing that it had been the woman’s, and the 
woman had to be bn the roof, in the “cellar 


Practical Ventriloquism. 


54 

cool,” or out of doors, this unnatural arrangement 
would have shown up the weakness of the art 
and the limit of the voices. 

It is impossible to imitate a “ Fop” or “ Swell” 
in Ventriloquism, as you cannot aspirate an H, 
and you must speak at the back of the mouth, 
which is what the lower classes do, whereas the 
aristocrat rather inclines to use the front of his 

mouth, and the man who affects a super-refinement 

• 

of speech • forces his' words almost against his 
front teeth in order to be thought refined, though 
to nearly everyone, and especially to those who 
mimic voices he only appears affected. A labourer 
says, “ ’Ow are you ? ” and his lips and tongue 
Hang loose. ‘The ‘swell says, “Howdy do?” and 
screws up his upper lip- and contracts his lower 0 
till he could say “ plum ” very easily. 

This strong distinction exists, and itTTs the 
reason that in Ventriloquism in which sounds are 
made at the back of the mouth— the only means 
of making them distant — it is impossible to imitate 
a “Fop” or “Swell” or that style of speech 
associated— not, of course, correctly in all cases — 
with what is supposed to be an evidence of social 
superiority. A negro in saying “ what ” will use 
five notes from the back of the mouth but an 
English gentleman becomes nasal and his “what l ” 


Practical Ventriloquism. 


55 


is short. As far as we are concerned the fact 
that the aristocracy are safe from Ventriloquial 
caricature may be accepted. If you like to try 
and give a Ventriloquial imitation of the Prince 
of Wales, I will give you his permission, because 
I know you will never succeed. This knowledge 
like similar information through this book tells 
you what cannot be done, which information I 
know would have saved me a lot of work, and 
if this book had been published before I wrote 
it I would be without those grey hairs I jiow 
perceive among my otherwise golden curls. 

Having settled the limits of voices that can be 
used, we have to consider what words can be 
used most effectively and those which - cannot be 
used at all. 

If you wish to represent a man outside asking 
for beer — a request which in spite of the tempe- 
rance movement and the new local option bill 
is still recognized as characteristic — he must ask 
for a “ quart 9 not a “ pint ”, because without 
bringing the lips together you cannot say 8 pint " , 
nor in fact any word beginning with 8 P ” If 
you try you will say 8 *int ” and can say nothing 
nearer with still lips. 

It is obvious therefore that all words cannot 
be used, so we have “possible dialogue All 


56 Practical Ventriloquism . 

styles of speech cannot be imitated, so oid* illus- 
trations become limited, not only to certain styles 
of speech but even then with a restricted vocabulary. 

When to use “ possible dialogue ” and when to 
resort to artifice to conceal mouth-moving articu- 
lation has already been referred to under “Ven- 
triloquial Acting”, what “possible dialogue” is 
and what is “ restricted ” is what concerns us here. 

I could write out a list of words and say 
“ use these” ; but I do not believe in that style 
of instruction, but prefer to give good general 
advice, and my reasons for thinking I am right, 
when I hope you will accept the advice and 
think as I do, or possibly go a step higher and 
improve upon my suggestions. 

By telling you there is vocabulary that is 
inadmissible in Ventriloquism, you are put on 
your guard, and, instead of being disheartened 
by failing to use successfully prohibited vocabu- 
lary, you understand that the fault may lie not in 
yourself but in the dialogue, which you alter, 
and discover that you have the key to all future 
trouble of that kind. To know whether words 
are suitable , test them. 

If you are bidding your oral friend farewell 
you say “ good-night ” and he says “ good-night” ; 
though you perform at a matinee — “ good-even- 


PrdeffcWWcnfyiloqu is m. 


57 


ing”, “ good-afternoon/’ arc not suitable saluta- 
tions. “ What do you. say ? ” is a useful query. 
As a precursor it arrests and secures attention for 
your Ventriloquy, “ Guv’nor ” is a good' title, “Sir” 
a bad one ; you use “Sir” and in Vent: “ Guv’nor" 
“I’ve got a ladder” is good, “ladder” is easily 
made clear. “All right,” “ I’m Sere*” “'’E’s.down. 
below,” ^ Keep yer ’air on”, “”Ave *yer got a 
shilling ? ” are all useful. Long conversation in 
Ventriloquy lis exhausting, and not so effective 
as short remarks; your natural speech should, as 
suggested before, take up most of the time. 

Writing Vent:\dialogue successfully is impossi- 
ble without practical knowledge. There are men 
who profess to supply it but they often send 
recitations, and matter that is unsuitable. It is 
the change from one voice to another, grotesque 
noises, coughing, sneezing, etc., which allow no 
time for criticism that amuse much more than 
a sustained monologue which, however clever, 
with Figures "becomes wearisome. The recital of 
“Three little mice” by the Little Girl' is of little 
effect unless broken up. 

Illustration. 

(at screen) “ Ah ! you are here, 
KatyL” 


Vent : 


Practical Ventriloquism . 


Little Girl. * Yes, Mr. ” {the performer's 

name if pronounceable.) “ I’ve 
been ’ere all the evening.” 

Vent : “ And now you are here, will you do 

something to amuse the company?” 
L. G. “What’s that?”' 

Vent : “ Will you sing or recite ? ” 

L. G. “I’ll sing.” 

Vent: “That’s right, you’ll sing.” 

L. G. “Or recite.” 

Vent: “ Yes or recite. ” 

L. G. “Then I’ll sing — may I stop here?” 
Vent: “ Eh ! ” (head behind screen.) “ What 

is it?” (whisper.) 

L. G. “I’ve got my second best socks on. " 
Vent: “ Now then, Katy, sing.” 

L. G. “ I said I was going to recite.” 
Vent: “Really, Katy, I don’t know what 

you did say.” 

L. G. “ That’s why I tell you — 

“Three little mouses.” 

Vent: “Mice.” 

L. G. “Mouses — ” 

Vent: “Mice not mouses.” 

L. G. “Mice—” 

Vent: “Ah!” 

Z. G. “ What do you say ‘ah’ for? There 


Practical Ventriloquism . 


59 


are no ‘ahs.* I must begin and com* 
' mcnce all over^again. 

“Three little mouse — ” 

Vent. “ Mice. ” 

Z. G. “ Is this your recitation or mine ? If 
you say anything more I. shan’t do it. 
“Three little mice sat down to spin 

don’t waggle your fingers,” (or any 
other remark.) 

Vent: U I beg your pardon,” (stopping 

movement.) 

L. G. “Three little mice sat down to spin, 

Pussey passed by and she — ” 

Vent: “Peeped in, yes.” 

L. G. “It isn’t ‘peeped in yes.’ Look here, am 
I recking this or are you, reciting it ? ” 
Vent: “You, of course.” 

Z. G. “Well, then, don’t interrupt.” 

“Pussey passed by and she peeped in 
What are you doing — 

Vent: “I was not doing anything.” 

Z. G. “ No, you ain’t pussey, that’s in the 
piece — 

“What are you doing, my little men? 
Making coats for gentlemen. 

Shall I come in and bite off your threads 
Oh, no, Miss Puss, you’d bite off our heads. 


6o 


■Practical Ventriloquism. 


and that’s all of it, and am I to have 
sixpence or a cheesecake?” 

This sort of thing does not perhaps appear 
amusing to read, but it will entertain an audience 
better than clever wit. because to a certain extent 
it is the natural behaviour of a precocious child carica- 
tured, and the interruptions are humorous surprises. 

Literary men on reading a Vent: Entertainment 
would wonder why something better is not sub- 
stituted, but it is experience that gives birth to 
dialogues that really “go”. 

It in no wise follows that a clever novelist can 
write a play that shall prove actable, a song that 
is singable, minstrel sketch, Ventriloquial dialogue 
etc., etc., for each requires special knowledge and 
different treatment to produce their special effects. 

In a play for instance we rely in a great 
measure on situation. 

Supposing that a lady were secretly visited by 
the son of a former marriage which she had con- 
cealed from her present husband. The son, a 
young man, is embracing his mother when the 
husband surprises them. All the author would 
make him say would be: 

“Wife!” 

And a stage effect or situation is gained. The 
audience know what is passing in the mind of 


. Practical Ventriloquism . On 

each for the actors express that. A novelisr 
treating the same subject would describe at length 
the feelings of each. 

In Ventriloquism the acting never lias this 
human interest for the personages are caricatures, 
and only afford laughter. 

The literary merit of a song is secondary to 
its suitability to musical treatment. 

What sounds very funny in a negro entertain- 
ment would sound very incongruous with white 
faces, and vice versa. Music Hall wit is justly 
ridiculed by those who give it attention but with 
drinking and smoking you do not get attention 
but an inattentive * audience and broad obvious 
jokes, only succeed. Music Hall artists supply 
what their experience tells them is likely to -suc- 
ceed, writers write what their experience tells 
inem is suitable, and it is with Ventriloquism you 
must use such dialogue as .experience suggests, 
people do not look for great thoughts, well 
turned sentences and the grace of literary style in 
Ventrilo uism, for the Dialogue is subservient to 

* In the best London Variety Entertainments the audience 
every day pay more attention to the stage, and when the clatter 
of programme girls and waiters’ impromptu debating societies 
are a little restricted, we shall have a very delightful form of 
Entertainment and better class audiences. 


6 2 Practical Ventriloquism. ■ 

the illustration of an art. I am compelled to 
digress a moment before I suggest any dialogue 
that is effective with Figures, otherwise you will 
be inclined to discard it. 

I remember once as an amateur giving a Magic 
Lantern Entertainment at a workhouse. It was 
my first and last appearance in the capacity of 
Lantern worker. I had painted a number of 
artistic and humorous slides which I exhibited 
but they evoked no applause and little interest. 
In. despair I thought I would try half a dozen 
hideous daubs that had been sent with the Lan- 
tern, and no sooner did I throw the first on the 
screen than the audience burst into applause, 
one inmate patronizingly remarking, “ Aye, meis- 
ter, that be more loike it.” 

Here is again an experience of “ experience, ” 
and so it is with every branch of art. 

The coarseness that Figures can. utter with 
impunity and with effect, is remarkable. If you 
want to laugh you need only make the old man 
sneeze, and desire to borrow your handkerchief, 
cough, grunt, scream, imitate a cock crowing, tell 
his wife to “shut up,” “wash her face” or “squint 
with her ears for a change” etc., etc. 

During my noviciate I received a dialogue 
from “Professor ” Bourne — to whom I am indebted 


Practical Ventriloquism. 63 

for much sensible advice — which I discarded 
as being too outrageous, and wrote what I con- 
ceived to be better, with the same result as I have 
mentioned in the Magic Lantern Entertainment. 
My dialogue was received with respectful silence, 
but when I introduced his, which I had fortunately 
committed to memory, the house rose at it, and 
my debut as a Ventriloquist was a success. 

Now I write my own, but I have experience 
now of the kind of thing that takes, and am 
successful in consequence. As in writing for the 
stage, don’t use three words if the effect can be 
conveyed in one, Vent: dialogue must be brief and 
interruption should form a strong part of it. 


Dialogue 

with old man, woman, and nigger. 

Vent: 

“Ladies and gentlemen — ” 

Old Man 

“’ear! ’ear!” 

Vent: 

“Silence, sir.” 

0. M 

“Only said ’Ear! ’earl” 

Vent: 

“Ladies and gentlemen.” 

0. M 

(sneeze) “You said that afore” 

Vent: 

“Ladies and gentlemen — ” 

O. M 

“ They know what they are without 


your telling ’dm.” 

Vent: 

“Silence! Ladies and — * 

0. M 

(sneezes) gentlemen. 

Vent: 

“You have a cold” 


64 Practical Venlritogutsm., 

O. M. - Yes, got it ’ot ” 

Old Lady “ I knew he -would » 

O. M. (to O.L.) “Don’t you begin, you 
old scarecrow.” 

Vent: “ That’s not the way tosp ;ak to a 

lady, sir.” 

O. JIL “Er ain’t a lady.” 

O. L . “What am I then?” 

O. M. “My old gal— bless ’er ’art.” 

(siugsj “My old Dutch I likes to be near, and 
sing of ’er like Bertie Chevalier.” 

0. L. (sings) “I cannot sing the old songs.” 

O. M. ‘ No, nor the noo ’uns either, so 
chuck it, old gal, chuck it.” 

Amalgamation of “near” and “distant”. 

The difficulties of amalgamation are in the fusion 
and, transition from one style of Ventriloquism to 
the other without exposing the “ tricks of the 
trade ” so to speak, without disclosing the art or 
disturbing the naturalness of the effect presented 
to the public. 

The man that I have alluded to, who throws 
his voice to the ceiling and abruptly leaves it 
there with some lame excuse, is not a skilful 
amalgamator, but one who some hat needlessly 


Practical Ventriloquism. 65 

makes the art appear less comprehensive than it 
is in reality: 

You will bring the man down from the roof 
because “he has a ladder,” or you have the 
knowledge that enables him to dispense with one 
at the outlay of a little Ventriloquial perjury. 

Having brought him to Level you further 
exhibit your ability by making him descend below 
and the change of position of voice must be 
covered by some “business,” and it is always to 
me a pleasurable evidence of skill when I see a 
Ventriloquist make the change and score with 
the audience by the business he uses to cover 
such change. 

The following dialogue shows an “amalga- 


mation” in 

Ventriloquism without Figures, cf 

“Above” to 

“ Below ” 

Vent: 

“Jack!” (pause) “Jack!” (it is as 
well to keep to one name Jor “above 1 ') 

Jack: 

(“ above") “ ’Ullo ! ” (prolonged as 
if shouting) 

Vent: 

“ Are you up there ? ” 

Jack : 

“AH right, Tm ’ere.” 

Vent: 

“ Can you come down ? ” 

Jack : 

“All right! I got a ladder,” (sings) 
“ Tol de rol ! ” 

Vent: 

(impatiently) “Come along.” 


66 


Practical Ventriloquism. 


Jack: 

“Alt right, guv’nor — I aint a-going 
to break my neck — I’m getting 
lower down.” 

Vent: 

(turning and looking up or away 
Jrom audience) “What’s the matter?” 

Jack: 

“ There’s a spoke out — or I wouldn’t 
a spoke out.) 

Ve7it: 

(turning to audience with a dis- 
gusted expression) “Bucolic wit!” 
(to above) “Come along.” 

Jack : 

“ All right I’m coming, I’m a-coming 
one more and I’m ’ere.” 

Vent: 
Jack : 

“Where is here?” (at door) 

(“ level distant ”) “ No where ain’t 'ere, 
where is where and 'ere is 'ere, and 
’ eres where you can 'ear me.” 

Vent: 
Jack : ‘ 

“You’re witty.” 

“Yes, it’s raining and I’m cornin’ 
in to dry myself.” 

Vent: 
Jack : 
Vent: 

“No, you mustn’t come in.” 

“ Oi says Oi must.” 

“No!” 


Jack: “But Oi says yes.” 

Covering the action with his body Vent: partly 
opens door and as he does so changes his ventri- 
loquism which he has used in Above to Level to 
near Grunt voice. From that moment he d&- 


Practical Ventriloquism. 07 

cards the Above and goes from Grunt to Below. 
Jack at the door arguing to come in, which you 
can of course extend as the dialogue is merely 
illustrative and must be altered to suit you. 

Vent: “I say no,® etc., etc. 

Jack: “I says yes.® 

Vent:) (closing door) “I say no.” 

Jack: (, distant as commencing “Level" to 

“Below") u What do you want to 
shut the door in my face for ? ” 

Vent: “You go down below, you’ll find 

something there.” 

Jack : “Down these steps, guv’nor?” 

Vent: “Yes.” 

Jack: “It’s rather dark but I think I can 

manage— beer did you say? one 
two. (lowering voice) three, (lower) 
four, (dog's bark heard) Hullo, 
guv’nor. there’s a dog down ’ere.” 

Vent: ® Yes. I told you you’d find some- 

thing. ” 

This illustrates how by a little artifice you pass 
from one position of the vocal organs to another. 

The assumption of deafness already alluded to 
can be often utilized in passing the voice from above. 

Vent: “Jack*” 

Yack: “What do you say?” 


68 


Practical Ventriloquism . 


Vent: 

“Are you down?” 

Jack: 

“I’m ’ere.” 

Vent: 

“I said are you down?” 

Jack: 

“ What do you say ? ” 

Vent: 

“ Don’t say what do you say ” 

Jack: 

“ All right, guv’nor, I won’t say 
‘what do you say’ if you don't want 


me to say ‘what do you say* 
when I says ‘what do you say.’” 


During the laughter this fooling provokes you 



Fig. 6. 


Practical Ventriloquism. &g 

change to* “ Below ” voice and down he goes. 
I might mention here incidentally that when you- 
call, and you are not satisfied that the audience 
are sufficiently attentive, or somebody is fid- 
getting about, coming in late, or otherwise assist- 
ing you, Jack becomes very deaf and cannot hear 
anything until you think your Ventriloquism can 
be heard. 

In making the change when the door is partly 
opened and your back is to the audience your 
lips have full play and as your Ventriloquism 
“Level and Near” requires little effort you can 
have a tremendous row at the door, even to slipping 
the arm out of your left coat sleeve if the door be 
on the left and accompany your Ventriloquism by 
a clever optical illusion. 

Explanation. 

By simulating a struggle Vent: pushes Jack out, 
takes the opportunity of slipping arm into coat 
while stamping and talking, and returning into 
room slams door and imitates Jack with “ Distant 
Level.” 

In arranging these effects try and obtain the 
assistance of a friend to stage manage, as his 
eye and ear will tell you what is effective and 
what is not. 


70 


Practical Ventriloquism. 


I have seen Dr. Broadbridge do this without 
Ventriloquism after a similar effect that I do of 
an imitation of two .men wrestling. He came in, 
after he had disappeared fighting, with his hand- 
kerchief to his eye, which when asked he explained 
was the result of a blow the other fellow had 
given him. As Dr. Broadbridge is happily only 
an amateur conjuror though as clever as any 
professional before the public, he will probably 
not object to your copying his business of the 
damaged optic. 

I am aware that the visible struggle is not 
Ventriloquism, but it is amazingly funny as is 
also my generosity in giving you permission to 
use what is distinctly my friend’s property. 

In amalgamatory Ventriloquism with “near” 
in using Figures they can be left and an enter- 
tainment of Ventriloquism given in the ordinary 
way without Figures. This shows too plainly 
that Figure working is a different art to Ventri- 
loquism. 

If on the other hand the “ old man ” suggests 
that the Vent: should do something, it comes about 
more naturally, and he can then Ventriloquize while 
working the Figures and improve the effect by 
interpolating their remarks. 


Practical Ventriloquism. 7 1 

Illustration. 

O. M. “Now, guv’nor, you do something.** 

Vent: “I do something?” 

O. M. “Yes, you make us do the whole 
show and not so much as a glass 
of beer ever passes my lips.” 

O. L . “You never pass a glass of beer you 

mean. Wab!” (to O. Mi) 

O. M. “Wah!” (to O. Li) 

The above two exclamations do not read as 
high-class wit, but a wrangle of this kind succeeds 
beyond belief in pleasing the audience. 


Vent: 

“Silence! 

O. L. 

(Sneezes) 

O. M. 

(Sneezes) 

Vent: 

“Will you behave, sir.” 

O. M. 

“ Caught it from my old dutch (sings) 
it’s a dutch cheese — I mean sneeze. 

Tol the rol lol!” 

Vent : 

(covers hand over 0. Mis mouth ) 

0. M. 

(sings ventriloquially). “ Tol the rol 
lol, ’ere I can’t breathe ” ( Vent re - 
moves hand— 0. M. loud voice) Oh! 
Oh! you” — (sneeze, sneeze , sneeze.) 

O. L. 

* What do you think you are — a 
steam engine ? 0 


72 


Practical Ventriloquism. 


0. M 

w 0h lor, he nearly smothered me.” 

Vent: 

“Why don’t you behave yourself 
then?” 

O. L. 

“ He don’t know how. ” 

0. M 

“ Ditto, you old scarecrow.” 

Vent : 

“ That is not the way to address a 
lady.” 

0. M. 

“She ain’t a lady.” 

0. L. 

“What am I then?” 

0. M 

“ My old girl, that’s what you are, 
and now, 'guv’nor, go on with your 
show.” 

Vent: 

“ I suppose * you know, sir, that I 
have a man on the roof.” 

0. M 

“I pity him a night like this.” 

Vent: 

“I will call to him. Jack!” 

0. M. 

“ You must call louder nor that.” 

Vent: 

“Jack.” 

0. M. 

(very loud) ^Jack.” 

Vent: 

“Jack.” 

0. L. 

“Jack.” 

0. M 

“Jack! Jack! Jack!” 

Vent: 

( above voice) “ Hullo” 

0. M. 

“I fetched ’im.” 

Ik 

Vent: 

“What are you doing up there?” 

0. M 

“ What’s that got to do with you ? ” 

Vent: 

(strikes him) 


Practical Ventriloquism. 73 

O. M. (Crying) Boo — boo — oh, oh! 

Vent: (stuffs handkerchief into mouth: as 

he does so, cries become fainter and 
fainter till they cease and head is 
allowed to drop down on shoulder.') 

Here we have an amalgamation of Figure 
working and Ventriloquism which can be extended 
indefinitely. I might here add that supposing a 
Vent: dog were an added Figure you could bring 
in vocal mimicry ; by carrying it off as it barked 
you could imitate it retreating into the distance 
by Ventriloquism. A bluebottle could buzz round 
the old man and much fun would be caused by 
your trying to kill it and hitting him every time 
until you squash the insect on his forehead. 

In an amalgamated entertainment you can 
introduce anything you like, cork drawing, sawing 
wood, cock crowing, etc., by allowing the O. M. 
to provoke such illustrations. 

O. M. “I say can you crow like a cock? " 

Vent: “ Yes, sir.” 

O. M. “So can I.” 

Vent: “ I should be delighted to hear you.” 

O. M. “You’ve never heard me?” 

Vent: “No.” 

O. M. “I thought not or you wouldn’t say 
that. Heres mine! (crows)” 


74 


Practical' Ventriloquism. 

Vent: (Crows) 

O. M. (Crows etc.) 

Vent: “When are you going to stop?” 
O. M. “Not afore you does.” (crows) 

It is effective to introduce the Figure of a little 
girl from behind screen and do half the show 
with the figure seated on your knee. 

Whatever Figure or whatever voice imitation 
you find you do best, introduce it most promi- 
nently but don’t make the mistake of over 
doing it. 

Illustrations in the dark can of course be done 
in conjunction with Dolls, or any form of amal- 
gamation. 

Dark Room Seance. 

This is best introduced to show that Ventriloquism 
is not acting, nor really depending upon it, and 
is best introduced after a few illustrations in the 
light that do not discount what you intend to 
do in the dark, which should be the man above 
descending to the cellar, and as you must ven- 
triloquize well in the dark to carry your point 
this must not be attempted until you are profi- 
cient, until you can make your voice appear 
right away from you and in the room above or 
on the roof. When it is dark the whole atten- 


75 


Practical W'enirilaqutsm, 

tion of the audience is with its ears, and there- 
fore your success or failure is intensified, and if 
you don’t convince them that the voice can be 
w thrown ” you look ridiculous and had best decamp 
before the lights are turned up again. 

There are advantages in ventriloquizing in the 
dark as well a$ drawbacks, for instance, though 
you obtain no aid from acting, you are not 
obliged to keep your lips still, you may speak 
right at the ceiling with your head back, and 
to the floor with your head down, which privi- 
leges materially assist you in obtaining your 
effects and which privileges you keep to your- 
self. In the dark if you have dancing shoes on, 
and can move without noise, the ghostly voice 
is effective spoken say to your right, and then as 
you sharply turn to your left; a struggle with 
the man with the ghostly voice is amusing if 
well rendered, it suggests the midnight assassin 
and as the audience cannot see anyone they are 
led to believe there are two. 

You can pay money, pour out liquids in the 
dark, and, if you have unlimited assurance, you 
can pass the sound of the actual thing for vocal 
mimicry. I do not suggest this for the paying 
public as it would be dishonest, but among friends 
a clever bit of humbug is, I think, permissible. 


76 Practical Ventriloquism. 

There are a variety of little comedies that can 
be acted in the dark, two men sleeping in a 
double-bedded room, one man who can’t find the 
•candle and when he does, matches don’t strike (as 
you carefully use the wrong end), woman’s voice 
at door saying there is a mistake and he is in 
the wrong room etc., etc. 

Try any experiments on your own family and 
if they say “It is not so bad” you may be 
assured that it will delight strangers. 

I might add that in a darkened room no 
change of scenery is required as this is suggested 
by the dialogue and whether you want a bed 
room or a wood you have it with a few words. 

Optical Assistants. 

Where figures are not used all sorts of expe- 
dients are resorted to to make the effect you produce 
appear possible to the eye, which makes the 
unaided Ventriloquism more difficult than where 
such forcible optical assistants are employed as 
mouth moving automata. 

It would be sufficiently illusory to carry on a 
conversation with a little girl, on the opposite 
side of a cottage piano to the audience, as she 
would not be seen if she were there, but it would 
be absurd to do so with a man, as, unless he 


Practical Ventriloquism. 


77 


knelt, his head would appear over the top of piano. 

Optical assistants and their efficacy is a thing 
apart from Ventriloquism, but, like acting, is an 
assistant. 

If you are called upon to Ventriloquize when 
out walking, you do not immediately “throw 
your voice but gain time by assumed diffidence 
or conversational expedient, until you come to 
some suitable surrounding a grating, bush, wooden 
shed, etc., and then illustrate with suitable dialogue. 

If it were possible for a man to be invisible 
and fly over your head, and you made him speak 
when asked to Ventriloquize on a moor your 
friend would have no interest in the illustration, 
it would be so obviously unnatural, as he would 
not be competent to judge what a voice really 
spoken in mid air sounded like : but if you knocked 
at a wooden shed and imitated a dog, the effect 
of having roused a dog would be familiar and 
therefore recognized and appreciated. You can 
throw your voice up in the open air, but, as I 
said, there is no excuse, no meaning in it, so the 
effect goes for nothing. In a fog you might call 
to a wall and carry on a conversation with men 
at the top, or in an imaginary balloon for that 
matter, if the fog prevented your seeing it, up a 
tree if in full leaf etc., or as long as something, 


78 


Practical Ventriloquism . 


no matter whether fog, .leaves, screen or piano 
intervenes to prevent the eye contradicting the 
evidence of the ear. 

I have seen an otherwise good Ventriloquial 
effort spoilt because the performer had not allowed 
sufficient cover for the people, his Ventriloquy 
suggested. 

There is a vast difference in the suitability of 
rooms. Some offer admirable opportunities for 
effect: others make Ventriloquism without Figures 
almost, impossible. 

Rich draperies kill the sounds as they do in 
singing, the position of the doors, windows, etc., 
the irregular seating of your audience and their 
proximity make Drawing-Room. Ventriloquism 
very difficult and more of an improvised character 
as the dialogue and business must be altered to 
a great extent to suit each particular room you 
visit. 

It will often be noticed that singers and actors 
who are most successful on the platform or stage 
disappoint when heard in a room, this is often 
due to their surroundings and I consider this more 
true of Ventriloquism than of anything else. 

If you employ such optical assistants as Figures 
and work them with “near” Ventriloquism you 
are more independent of surroundings, a set 


Practical Ventriloquism. 79 

dialogue can be gone through parrot-like which 
lasts a certain time and, your show is finished. 

Figures that do well for the stage are need- 
lessly hideous when as near as they would be in 
a drawing'-room and dialogue that is quite strong 
enough for a room would appear weak over the 
footlights, and what is toned down by the dis- 
tance of a theatre or hall in dialogue would be 
offensive in a room. 

It is possible to use much broader humour 
through Figures than would be tolerated in the 
ordinary way, for they, like dwarfs, are privileged 
persons, though I don’t see why they should be. 
This remark is pertinent here in reference to the 
employment of Figures as assistant surroundings. 

The Ventriloquist should act as a mediator 
between the Figures and the audience, correcting 
their vagaries, and showing uneasiness at their 
want of breeding. This serves to convey the 
idea that they are different creatures with different 
ideas, education, etc. 

I remember one young man — who has given 
up touting for coal orders to amuse the upper 
circles — giving a Ventriloquial exhibition during 
which he turned to the old man in propria persona 
and exclaimed “You shut up” and “none of your 
jaw.” This repugnant and inartistic style of. 


80 Practical Ventriloquism. 

work, it will scarcely be conceived, appeals to the 
level of the critical acumen of the representatives 
of certain West End Agencies, and the perpetrator 
of it is sent out to lower the taste of society 
whenever opportunity occurs. 

There is nothing more suitable than a stage 
upon which to give an entertainment, the wall 
of warm air from gas footlights has a separative 
quality and the proscenium cuts off sound and 
disperses it into the Flies ,and gives it a distant 
effect, provided of course that you do not come 
down until your face is almost over the footlights, 
as singers do who wish to appear to have turned 
up noses. 

The effect of sounds, the difficulty the audience 
have of localizing their origin is so well under- 
stood, by those who study stage effect, that should 
an actress be required to sing who cannot, she 
has only to simulate singing, when the song sup- 
plied by a vocalist at the wings will appear to 
be hers, without any fear of the audience being 
able to detect the dual nature of the performance. 
Unlimited impudence 1 have seen substituted for 
Ventriloquism by men who discover the liberties 
that can be taken on the stage with impunity ; as 
an illustration of voice throwing I have seen an 
Entertainer place a head on one side of the stage 


Practical Ventriloquism. 81 

and then " inform the audience that he would 
“ throw his voice across the stage” whereupon 'he 
used “near,” with still lips, and by pulling the 
string moved the mouth and created the illusion 
that the actress and the vocalist created, though 
they did not call it voice throwing. 

My motive in alluding to this is to demonstrate 
the assistance' offered by the stage as it may be 
useful to you and, moreover, you will, while en- 
joying any illusion of the kind, accept “cum grano 
salis” anjr statements made over the footlights by 
those who sacrifice truth to gain credit for powers 
they do not possess. They will be found out with 
the progress of knowledge, if the classics of our 
school days are correct which says “Magna est 
veritas, et prevalebit.” 

If you try the experiment of making a head 
talk across the stage and introduce the illustration 
by saying “I will make the head appear to talk” 
the effect is equally interesting and you avoid 
misleading falsehood. If the public say that you 
throw your voice that is their affair. 

When a greater distance is phonetically sug- 
gested on the stage or a voice is heard through 
an intervening roof or floor then you employ 
Ventriloquism and must throw the voice, or no 
effect is created as the eye is not humbugged by 

6 


8 2 Practical Ventriloquism. 

a mouth-moving head. This is the distinction 
between near and Vent:, and, supposing that the 
public knew as much about Ventriloquism as we 
do, it would not injure the art but make it more 
appreciated. 

As the difficulty of localizing- sounds is part of 
phonetics I might by way of illustration recall 
the difficulty we have in finding friends in a 
wood, and how often the calling must be repeated 
to discover each others whereabouts. 

It is the same in the house, even while I WTite 
I hear an example, my wife calls a servant. 

“ Mary.” 

“Yes, marm.” 

“ Where are- you? 1 ' 

The girl has answered, and yet it is difficult to 
be certain whether she is upstairs or down, or 
at all events to be certain exactly where she is. 

When close it is much easier to. localize a 
sound, though even in a room the sound of a 
mouse not being loud its whereabouts are not 
ascertained without repeated listening ; the principle 
is the same, regulated by the proportions of 
sound to. space, whether it be a mouse nibbling 
paper in the room or the explosion of a distant 
powder mill. In both cases the listener is not 
quite certain of the exact locality and when an 


Practical Ventriloquism. 


8 * 


explosion takes place it is generally surmised to 
be a neighbouring “Gas work” or “powder 
magazine” because such things offer the most 
probable solution. When the Regent Canal ex- 
plosion took place resulting from explosives in 
a barge, a man who had the side of his house 
biown out flew like a madman along the streets 
shouting “ The Zoological Gardens have blown up. ” 
This may be taken as an example of the diffi- 
culty of locating sound and the readiness with 
which people fix the source of sound on the first 
place that comes to their minds. 

The nearer the sound the greater force of 
proportion it bears to the radius of which you— 
the hearer — are the centre. At three yards sound 
is more easily located than at three miles, and 
three miles at three miles would less easily be 
located than three feet at three yards, so that the 
stage or platform makes phonetic deceit more 
easy than it would be when performed at close 
quarters in a room. 

I am often asked if I can throw my voice to 
the roof of a large building? The questioner 
forgetting that ventriloquial speech is in inverse 
ratio to ordinary speech and that to throw the 
voice, the greater the distance the fainter the 
speech not the louder. 


84 


Practical Ventriloquism. 


In a Ventriloquial sketch that I have given to 
thousands of people in all parts of the country I 
imitate a phonograph, my first 44 Record ” being 
a Scotch gentleman playing a Scotch bagpipe on 
a Scotch mountain twenty Scotch miles distant. 

After keeping the audience listening for some 
time no sound is recorded which, as I explain, 
“ shows the accuracy of the apparatus” 

Provided therefore that the sound is sufficiently 
distant to be inaudible anyone can imitate it. 

Special Optical Assistants 

By these I mean talking hands, heads, Vent: 
Figures for which special dialogue can be ar- 
ranged, which makes the performer independent 
of local surroundings as far as optical assistants 
and impromptu speech are concerned. 

Some performers find it absolutely necessary 
to have everything they say or do arranged 
beforehand, while some find that they can rely 
upon impromptu gags to supplement a sparse 
dialogue. To the former the Figures are almost 
a requisite as the business and dialogue can be 
alike adhered to, whereas the man of spontaneous 
wit and a ready adaptability to local surroundings, 
gains by what I have termed ordinary optical 


Practical Ventriloquism. 85 

assistants, as his resource is shown by this 
form of Entertainment just as much as the want 
of resource is concealed by the employment of 
Figures. 

One acrobat performs on a “ slack wire” an- 
other on a “tight rope” because, although they 
could both do cither, one form of gymnastics 
suits each individual best, and so it is with the 
particular method of exploiting Ventriloquy. 

In using Figures an audience know perfectly well 
that they do not speak, but they lend themselves 
to the illusion for the amusement it affords them. 

Figure Working 

TllERk is a right and. a wrong way in working 
a set of figures and unless the Entertainer has 
imagination and uses it to make the audience 
believe that his Figures do talk, the Entertain- 
ment loses half its charm. 

I have seen a Ventriloquist come on to a stage 
drag off the covers from a couple of Figures, 
announce that he had the honour to give the 
audience a Ventriloquial Entertainment and then go 
straight through a set dialogue, bow, and retire. 

The very last thing an artist would do, would 
be to inform the audience that he was going to 


86 Practical Ventriloquism . 

give a Ventriloquial Entertainment. He is going 
to do that so he does not talk about it ' Any 
introduction is better than that, though it is a 
very common one, so much so as to be hack- 
neyed, which is another reason for avoiding it. 

On entering bow to the audience, and com- 
mence: — “Ladies and gentlemen,” — and then, 
seeing old man, say, as you shake his hand, 

Vent: “Oh, you’re here already, are you?” 

O. M., *‘Yes, came down in the luggage 
van, havenk ’ad nothing to eat since 
breakfast [coughs.) 

Vent: “You have caught cold?” 

O. M. “Yes, plenty of it in that luggage 
van” [coughs)" 

O. X. “What’s that — a dog .barking.” 

Vcntf “No, your husband.” 

O. L. “ And where’s Katy? ” (“ Toby ”, dog, 
Pussey, etc.) 

This dialogue illustrates an informal introduc- 
tion. You may come on, bow and go to the old 
man and pull him about working his head so as 
to watch you. 

O. M. “What’s up, guv’nor.,” 

Vent: [business) 

O M. “If the string’s broke I may as well 
go home.* 


Practical Ventriloquism. 


87 


Vent: “ How dare you speak about strings, 

showing liie up before the public, 
exposing the art by Which — ” 

O. M. “ Oh, chuck it, guv’nor, chuck it.” 

O. L . “ What’s the matte? with yer string? 

O . M. “ Nothing— new last Wednesday.” 

Vent: “Silence!” 

O. Mi {sings) “For the British Grenadier 
Hip, hip hurrah! ” 

Vent: “ If you say that again I’ll — ” 

O. M. “ Hip hip” ( Vent : raises his hand to 
strike him ) “ Hipecaquanha lozenges.” 

Vent: {Drops hand) 

O . M. {To audience) “ Got him on the cough 
drop.” 

Be very careful not to look at a Figure when it is 
about to address you. I don’t mean by that 
always look away from it, but there is natural 
tendency to look where ' your thoughts are and 
to the Figure you know is about t<3 speak. 
Supposing the Figures were alive their thoughts 
would be unknown to you, and it would not be 
until those thoughts were put into words, and 
those words addressed to you, that you would 
hear them and turn to the speaker. 

In Figure working you are sustaining an illusion 
and the more you trick the audience against their 


88 


Practical Ventriloquism. 



Fig. 7. 


better judgment into believing that the Figures 
speak, the more successful you will be. 

If you are whispering to the O.L. and you 
make the O.M. keep looking round, shake his 
head and express disgust and while your lips 
are close to O.L., he says, while the back of 
your head is to him, “Stop that, guv’nor, no 
kissing my old woman.” 

The effect is as though he had become jealous 
and remonstrated on his own account. This 
effect without being overdone can be worked in 
various ways to the bewilderment of the judgment 
of the audience. 

Anything unforeseen that happens during the 


Practical Ventriloquism . 89 

Entertainment should be taken advantage of and 
commented upon. In this a Vent: Figure enter- 
tainment has an enormous advantage over others, 
as interruptions do not interrupt but assist, as 
the show itself is nothing but interruptions. 

If an old gentleman in the audience drops his 
Umbrella, or knocks over a chair, the Vent: 
immediately stops his “ set dialogue ” and gets 
what he can out of the accident in some such 
dialogue as the following. 

O, M. “ I say, guv’nor, that gent’s broke 
one of the ’all chairs.” 

Ve?it: “Silence!” 

O . M. “ Yes — and then you’ll dock it out 

of my salary.” 

O. Z. “He’s picking it up now.” 

Vent : “ Will you go on with the Enter- 

tainment? ” 

O. M. “Not while the brokers — I mean 
the breakers are in — ” 

People entering, windows being opened or 
shut, all interrupt and make it difficult for an 
ordinary performer to go on, but the Vent: does 
not suffer provided he makes capital out of un- 
foreseen interruptions, which, if cleverly availed 
of, give a life-like effect to the Figures as they 
appear to hear, see, think and speak. 


90 


Practical Ventriloquism. 


Mr. Maskelyne makes an interesting blunder— 
the blunder, a show man would, but an artist 
would never make — and I introduce it as an 
antithetical illustration of the simulated hearing 
of the Ventriloquial Figure. 

He exhibits a sketching automaton made on 
the principal of the well known pantograph. 
Having by elaborated talk and demonstration 
shown the Figure to be in no way connected with 
a human director, he says to it, “Are you ready?” * 

The Figure bows in response, and at once 
reveals the presence of a human agency directing 
its movements which he was at such pains to 
conceal. 

The Ventriloquist makes his Figures appear 
to hear by hearing for them and that quality 
which a Vent: Figure should possess is a fatal 
quality to an automaton, whose speciality its 
exhibitor assures the public is in its being 
entirely mechanical. 

If you intend imitating instruments, animals, 
other than those of which you use models, make 
such imitations through the Figures, they always 
go better, and your Figures are not left out in 
the cold. 

* “ Rise your arm.” was the exact phrase until this grammatical 
inelegance was corrected by a man in the Gallery. 


Practical Ventriloquism. 91 

Songs of a kind give variety to an Enter- 
tainment and a chorus can often introduce one 
voice after the other which makes an effective 
finish to a show. 

An amusing change is caused by making the 
O. M. or O. L. whisper by simply moving their 
mouths in silence. 

The old man can bite the Vent:’s finger with 
ood effect, should it wander too near his mouth, 
and numberless other bits of business will suggest 
themselves in the course of practice and perforr * 
ance. 


PART IV. 


VOCAL MIMICRY 

This is the imitation of sounds other than of 
speech, and it only becomes Ventriloquism when 
the distant sound of such mimicry is produced. 
For instance a boy imitates a dog barking which 
is “mimicry;” if he transfer that sound to a 
distance he must first place the vocal organs in 
position for Ventriloquy and so he employs Ven- 
triloquism or Ventriloquial mimicry. 

It is not possible to give a distant imitation, 
of all the various things that can be mimicked 
by tlffe voice, the general run of sounds cannot 
be Ventriloquized nor would it be a natural imi- 
tation if they could. 

What can. be imitated by the human voice is 
sufficiently extraordinary, and as the different ways 
of imitating the same sounds are numerous, the 
best method only I shall point out to you. 

Ifn vocal mimicry unless you are employing 

( 9 *) 


Practical Ventriloquism. 


93 


animal automata or optical assistants you can move 
the lips, in fact in what are termed “ Farmyard v 
imitations the cock bird’s actions are elaborately 
caricatured by the performer, the fidelity of the 
strut, the. flapping of wings prior to the crow, 
the stretching of the neck are all imitated. This 
of course would be ridiculous in illustrating distant 
sounds. You can bring in a canvas covered coop, 
crow near for the bird inside, repeating his general 
challenge Ventriloquially or pretend the bird first 
heard is at the side wings, behind a door, etc., 
or personate it yourself. The effect of the canvas 
covered coop is not to make the crow* remote , 
but give an excuse for its origin and sustain the 
illusion. 

Cock crowing 

Anyone can crow like a cock if he imitate 
nature. But there are as many varieties of crow- 
ing as of spiders. The shrill little Bantam, the 
awkward bungling crow of the Asiatic breeds 
such as the Brahma or Cochin, the clarion note 
of the Game or Black Spanish, the peculiarity 
of the Houdan and the laughable attempts of the 
young cockerels when learning. All are effective 
in contrast against each other. I doubt if most 
people know the different crows of different 


94 


Practical Ventriloquism. 


breeds, but they would be interested to learn if 
you gave them examples of each kind. If you 
imithte a Bantam’s crow use the “punch” voice, 
and you will get it at once. For other kinds 
you partly assume Ventmloquial attitude as 
regards th'c chest. People as a rule hear a cock 
crow at a distance — not in a room — so that if 
you are performing in a room, a slightly Ventri- 
loquial effect is the most truthful. After the 
studies you have done I feel certain you will 
understand this suggestion without difficulty, when 
your ear will inform you what is correct. 

Ducks. 

In imitating ducks you~ must not say “quack” 
because a duck, having no lips, does not say 
quack. I think a duck tries to say quack, and 
if you try and say ’uack and do not use your 
lips, but use your mouth as a duck does its 
upper and lower bill, opening it as wide as you 
can and making the exaggerated action the bird 
does, you will hear from your mouth an exact 
imitation of its cry. The first “ ’uack ” must be 
loud and the following “ ’uacks ” quick and fainter. 
At the cost of a bit of loaf and a visit to a 
duck pond, a few ducks will give you finishing 
lessons as long as the bread lasts. 


Practical Ventriloquism. 


95 


Parrot 

As a rule people suggest for this bird’s arti- 
culation the most difficult words possible “ Pretty 
Polly,” no parrot ever said, or ever will say “ Pretty 
Polly ” * for the same reason a duck does not say 
“ quack.” For a parrot and for parrot-talk you 
use the “ punch ” voice, but you must avoid 
labials, or if you do your imitation is recognized 
as that of a “ human ” as the American calls him, 
imitating a parrot. If you listen very carefully 
to the bird you’ll perceive that what I say is cor- 
rect, and by giving your attention to these small 
matters your imitation becomes similar to nature 
and therefore deceives. 

By going to a cage, no one could tell it was 
not the parrot speaking, if you give the mimicry 
with boldness, and with human speech show the 
defects of the bird when using it. 

Cat. 

I AM sorry to refute so many household beliefs 
but the cat does not me — iow but e — iow and 
this is also as capable, or more capable of proof 
than the absent labial of the parrot or duck — at 
least it is in my neighbourhood any fine evening 
after dark. The study of cat dialogue,, moreover, 
is cheaper than that of duck’s, as no bread is 

*A parrot says “ ’itty ’ oily.” 


96 


Practical Ventriloquism . 


necessary to encourage them to give illustrations 
of their vocalism. 

Bluebottle. 

One of the easiest imitations, and one that is 
always a success is that of a bluebottle flying 
about the room, which you try and catch. There 
are many things about this performance which 
makes it effective. As for instance when you 
pretend to follow it, you naturally take the sound 
with you, which is the same thing in effect as 
if the insect made the buzzing and you followed 
that. You are permitted by virtue of your 
employment to turn your back to the audience. 
When you want to take breath the imaginary 
bluebottle has a polite habit of resting on the 
curtains or on the wall. Having gained your breath 
you start the insect again by a flip of your 
handkerchief and so on until you smash it, or 
capture it. Let it buzz in your hand, throw it 
down and explode it with a stamp of your foot, 
and give it with a little judicious imitation, its 
coup de grace. 

The bluebottle is made by blowing through 
the lips until they vibrate rapidly while you are 
uttering a droning sound — not the Vcntriloquial 
Drone — but a near moan about the pitch of the 


Practical Ventriloquism . qj 

hum of a bluebottle. That the insect has its 
characteristic tone was distinctively proved by 
the clever imitation of a bluebottle by the ’cello 
(alternating B, B flat and A or similar half 
tones) during the pantomimic acting of pierrot 
fils catching one in “L’Enfant Prodigue.” The 
vibration of the wings in the vocal imitation is 
represented by the vibration of the lips, which 
disturb the air in a similar manner to the ’cello 
and the insect and with the added moan give a 
realistic though rather exaggerated imitation of 
a bluebottle. This mimicry is a very powerful 
one when acquired completely, and is very effec- 
tive in large Halls or Theatres where the Ven- 
triloquial or distant bee could not be heard. 

You will make a good deal of spluttering in 
your first attempt at getting that near hum ot 
the bluebottle, and its attainment will be acce- 
lerated or retarded according to the formation of 
your lips, but if you have lips you can succeed, 
and if you do flounder about in practising you 
may, for you cannot do yourself any hurt in 
learning a labial accomplishment of this kind. 

Circular Saw Mill. 

The reason I follow the bluebottle by a saw 
mill is because in mimicry they should be in 


g8 


Practical Ventriloquism . 


sequence, the revolving hum of the saw being, 
in effect, a grossly exaggerated bluebottle. By 
protruding the lips, closing them and blowing 
through them without making any vocal sound 
you will soon be reminded of a saw mill 
in full operation. The difference of tones 
made from the initial incision of the saw 
into the timber, to its exit can all be 
simulated by slightly altering the position 
of the lips. As the teeth of the saw 
cut more slowly, you exhale more slowly, and 
by using more breath, you get that regular hum, 
which has been attained before in distant Vent:, 
which is in principal the shake in singing that 
commences by slowly alternating two notes and 
finally increases until you obtain the sustained 
shake. 


Donkey. 

The preliminary squeak to the bray of the ass 
is made by the animal drawing in its breath 
sharply. You can imitate this in the same way, 
but it is less hurtful to the voice to use the 
“punch” voice first for what I have designated 
the preliminary squeak, doing the whole imitation 
while exhaling. 


Practical Ventriloquism. 

Wind. 


99 


The effect of wind in the rigging of a ship 
is a capital item to amuse with, and here again 
you must faithfully copy nature. The whistle as 
the wind first strikes the ropes, the sighing, the 
intermittant gusts can all be suggested, added to 
which with your ventriloquial powers, the effect 
of orders given from deck and answered by 
the look-out man from the rigging above, can 
all be introduced throughout the imitation of a 
storm. 

If you say “huzz” in a prolonged fashion 
against the front teeth, thinking- more of the z 
you will find the variety of sounds of a gale is 
easily reproduced. 

Sawing Wood. 

This is made by breathing through saliva at 
the roof of the mouth. The hand saw is of course 
jerk}, not continuous like the circular saw, each 
advancing cut is suggested by making the sound 
more and more to the back of the palate till it 
becomes deeper, and deeper, until you drop the 
piece of wood you pretend to saw, or have a 
piece partly sawn through which at conclusion 
you knock off with, yaw r hand. 


ioo Practical Ventriloquism. 

Water. 

The turning on of a tap, and the first burst 
of compressed .air is suggested by “pfitt”, and the 
sound of water coming into a cistern or pail by 
the use of more saliva. The cistern experiment 
is best as so many people have had occasion to 
listen to these sounds, and so they are familiar 
with them and they recognize the imitation. 

Tearing Calico, 

This is made by fixing the off lip and risible 
muscles in the position they would be- if you 
grinned, when you close them and draw the air 
into the mouth opposite the molar teeth, the 
effect of tearing calico is imitated exactly. 

Squeaking door or gate. 

This comes at once to anyone familiar with the 
* punch” voice. 

I remember once, when I was more reckless 
than I am now, imitating the squeak of the 
garden gate as I opened it to my hostess. I 
concluded she didn’t appreciate my humour, so 
attempted no more. Next day I saw the servant 
hard at work on the hinges of the innocent gate 
with the salad oil bottle acting under orders. I 
explained my joke and ever since I have been, 


'FrattimrVcntriloquism. ioi 

given sardines, additional oil in my salad, etc., in 
order to prevent the gate from squeaking again. 

MUSICAL INSTRUMENTS. 

The imitation of musical instruments has 
recently obtained a higher state of excellence 
than was thought of some time ago. As a rule 
such imitations being imitations become tiresome, 
as any imitation always will if continued too long. 
Mr. Atkinson’s imitations of the mandoline, are the 
best I have heard, but when he follows mando- 
line with a banjo played as mandoline or other 
similar effect he over-rates the avidity of the 
audience for one dish in his Entertainment menu. 
My idea has always been to combine vocal 
instrumentation with a song, letting it form part 
of the song. I have for years made a specialty- 
of songs of this kind, some of which are pub- 
lished by Messrs. Reynolds and Co., 13 Berners 
Street, London, and the large sale they now 
command is an evidence of public appreciation 
of this combination which no doubt will create 
numerous songs that embody the same idea. 

The advantage of the imitation in the song is 
that it is not too long to tire the listener, and 
not beyOnd the capacity of the performer, as a 
long imitation solo might be. 


102 


Practical Ventriloquism. 


Banjo. 

In imitating the Banjo you say “ Pang ” in the 
same fashion as you say “ ’uack” for the duck with 
this difference that the P is articulated. If instead 
of “ Pang ” you say “ Tang” you can use your 
tongue more and give the Sound of the old fash- 
ioned roll by saying “Trrr-ang.” As a mat- 
ter of fact “ Pang ” and “ Tang ” are both cor- 
rect, if the Banjo be listened to the two sounds will 
be heard as the strings are struck in different 
way$. I am refering to the old fashioned Banjo 
for it is as well to avoid imitations that take 
and keep the voice on high notes. “ Prr-ang 
tang’* would give the sound of the thumb rubbed 
'across the strings followed by a single note 
picked out with the forefinger. "When I say that 
“Tang” and “ Tang ” are correct I mean that they 
approximate as nearly in sound as any written 
Word I can use, and form the basis of practice 
while you copy the instrument when played. 
“Sambo’s Serenade” introduces the Banjo in a 
manner that is not difficult and yet effective. I 
have never found this song fail to make a good 
impression so I can recommend it in connection 
with this imitation, with the Certainty that it will 
be liked. This song, if you have an accompanist 


Practical Ventriloquism . 103 

can be amusingly rendered by your taking an 
umbrella — tuning it, etc., by mimicry and then 
using it as a Banjo when you do the imitation. 
In addition to the pianoforte there is a special 
Banjo accompaniment and if you have a Banjo, 
as well as a piano the effect is most amusing. 

You might imagine that the real Banjo would 
destroy your imitation, but it does not for though 
the audience might possibly perceive that yours 
was an imitation if alone, when they hear the 
Banjo as well, the quality you fail to give is 
supplied and the effect is that of a couple of 
Banjos playing together. 

Xylophone. 

This instrument is also known by the more 
suggestive title of - pine sticks, as it consists of a 
number of pieces of wood of different lengths 
which on being struck with a hammer give out 
different notes of a hollow quality. It would be 
imagined that such a sound would be impossible 
to repeat vocally and yet I have by practice 
become able to give Scotch airs and variations 
to the accompaniment of a full orchestra. 

Fix your mouth in position by saying “ oh.” 
Then take your open hands and hold them so 
that the right thumb comes a little below the 


104 


Practical Ventriloquism. 

left, which if you hollow the hand slightly leaves 
a triangular opening above the latter. By separat- 
ing the hands, and then bringing them sharply 
together the collected air between the palms is 
forced with percussion through the triangular 
opening, which being brought opposite the opening 
formed by the lips when saying “ oh” you obtain a 
note. You will soon discover after a few expe- 
riments that by making the opening of your lips 
smaller the notes become lower by making it 
larger the notes become higher. 

I introduced this in a song called the “ Xylo- 
phone” and it was singularly taking, but I must 
mention that after practising this imitation my 
lips became so swollen that, their size was a 
disfigurement, and, though my Doctor was in- 
clined to doubt my theory about the Xylophone 
practice being the cause, I attributed the swell- 
ing to the continual percussive stream of cold 
air sent against the lips. The time devoted to 
practice anything of this kind is not comprehen- 
sible to outsiders. I may be wrong in my sur- 
mise against medical opinion, but in telling you 
how to imitate pine sticks I think it right to give 
you my experience, and leave you to act as you 
please. One thing I found necessary in my 
Xylophone studies was to bandage my eyes, as 


Practical Ventriloquism. 


105 


the stream of air occasionally went into them and 
caused them to become bloodshot just as though 
I had been in the draught from a cab or railway 
carriage window. 

Trombone. 

This imitation is a labial one that almost every- 
one can. do, and if the performer have an ear 
for music and imitates a solo to a piand accom- 
paniment it is amusing, but the weakness of this 
imitation lies in the strength of the instrument 
imitated, which is its chief characteristic, and 
which is absent in the imitation. 

Cornet 

THIS should not be attempted with the lips , but 
made at the top of the palate “Ta-ta-ta”; the 
reality of which is increased by holding the hand 
half clenched and making the sound through it. 

This style of imitation, though of course faint 
in comparison to the instrument imitated, is very 
effective even ' in large Halls. It is really the 
“ theek " of the M punch ” pronounced “ ta ” instead 
of “ theek ” which knowledge will enable you to 
master production without difficulty. By the use 
of saliva you produce the burr that often precedes 
the clear blown note, the faulty production arising 


io6 Practical Ventriloquism. 

from water in the cornet or some of the many 
tricks with which wind instruments continually 
surprise the player. These defects are less in 
evidence with our best players who, by constant 
cafe, avoid them, but they are never entirely 
absent from any performance on a wind instrument 
when the note must be made , and not, as in a piano 
where it is already made- for you. For purposes 
of humorous imitation a cornet player at a street 
comer who has been copiously supplied with 
drink by a neighbouring publican is the most 
likely model to supply points of characterization, 
which, though objectionable to hear in a solo, 
are amusing in an imitation because in the 
latter they evidence observation, and mimicry. 
The late Mr. Fred Leslie gave an admirable 
travesty of a comet, suggesting the keys with 
the fingers of the left hand which he played on 
with his right using the aperture of the partially 
closed left hand to focus the sound he made 
and to which I have before alluded. He imitated 
the blowing through the comet to clear it, turn- 
ing it upside down, flipping the keys to see if 
they worked properly, etc., etc. All of which is 
mimetic, but purely that mimicry of the actor 
which appeals to the eye, or speaking broadly it 
is “ Ventriloquial Acting.” If Mr. I.eslie had not 


Practical Ventriloquism. 1 07 

found his preliminary introduction effective he 
would have discarded it, as no Entertainer can 
sacrifice the reputation he has made, or the repu- 
tation he hopes to make, by doing anything that 
causes him to lose favour with the public. So 
that when I say he elaborated his cornet imitation, 
as I have described, it means that you can do it 
with advantage if you desire. 

Musette- 

A faint imitation of this instrument is given by 
a method that does not exactly recommend itself 
to those who entertain in Drawing-Rooms. You 
pinch your nose with your fingers and saying 
“ta” use the “ theek ” or “punch” voice which 
you will find materially changed in character by 
the stoppage of the nostrils. With an instrument 
that is so constructed that each note, as in a penny 
whistle, has a separate hole, or is made by a 
stoppage of certain holes, gliding is impossible 
except so far as a half tone is made by lifting 
the finger gradually off the hole. Yet I have 
heard a gentleman glide while imitating a musette, 
as though it were a violin, which is incorrect 
though some people will be found to exclaim 
when they hear it “How like a musette!” though 
they never heard one in their lives before, which 


108 Practiced Ventriloquism . 

may have been in a measure, their reason for 
eulogistical criticism. A pair of pince nez made to 
order would hold the nose politely I should think. 

Italian pipe. 

This is a reed instrument of primitive con* 
struction used by the Savoyard peasant. It is 
higher than the clarinette though there is a 
resemblance in the top notes of the latter to the 
ordinary register of the other. You place the 
tongue against the palate and using “punch” 
say “ te ” prolonging the note and giving a turn 
to the tip of the tongue as you pass from one 
note to another, perhaps if you say “ Te-del-le 9 
you will understand me. 

I remember in studying art, a well-knOwn Aca- 
demecian said to me when I was painting the 
complexion of a face “think of a peach — not a 
brick wall ” and just in the same way when you 
imitate the Italian pipe think of one. If you have 
never heard one you cannot imitate it correctly, 
and if you find it difficult to hear one, take a 
similar character of instrument in more, general 
use and imitate that. 

Clarinette. 

The music in the streets has improved with 
the. .general advance of culture in England, and 


Practical Ventriloquism. 109 

ili e. reteiically coloured clarionet, with sciatica m 
its lower joints, is unfortunately, for purposes of 
humorous imitation, as extinct in our streets now 
as the Dinotherium or Megalosaurus. Occasion- 
ally an old man is seen wandering along the 
gutter with a clarionet, and in proportion to his 
destitution will he enrich the music of our best 
composers with twirls and shakes. I remember 
one old man whose twirls almost, but not quite, 
obliterated the original melody, which when^nearly 
lost was suddenly reverted to in vigorous blasts, 
only to be again dissipated in a series of inter- 
minable twirls. In imitation this sound should be 
-practised “tul-le” at the lower back of mouth 
making the sound towards the top as the higher 
notes are produced. There is a lot of character 
in a badly played clarinette and if you could 
introduce a friend to learn one it would be an 
advantage to -you provided he did not reside in 
a neighbourhood where you possessed property. 

’Cello. 

Whether it be because I have hit on the best 
method of production, or because I am more fasci- 
nated with the ’cello than with any other instru- 
ment I do not know, but it is generally conceded 
that I am more successful in this imitation than 


1 1 o Practical Ventriloquism. 

other Entertainers. Mr. Corney Grain attempted 
an imitation of this instrument, but if the. audience 
were not previously informed what it was they 
would have great difficulty in finding out, as it 
might be anything and was like nothing in the 
whole category of instruments. If you try and 
imitate a ’cello labially as Mr. Grain does, it at 
once partakes of the character of a Trombone, 
for by the labial method this cannot be avoided. 
When I heard Mr. Mansfield, a son I believe of 
Madame Rudolf, it was a revelation to me after 
the St. George’s Hall imitation. I drew my atten- 
tion more closely to this matter of imitating in- 
struments and I gave up the false for the true 
method and with the happiest results. 

To imitate a ’cello correctly you must avoid 
labial production and make the sound at the back 
of the mouth, a sort of near ventriloquial bee — a 
grunt on “ah.” If you essay this effect on the 
low notes, the grunt gives that touch of a rosined 
bow on the string when making a down bow. 
As the bow is drawn across the string, the vi- 
bration is increased until it becomes a clear note. 
Sound is only vibration of the air, whether made by 
a ’cello, saw mill, or comet and, as in the saw 
mill, bluebottle, etc., there is a preliminary buzz 
until the regular beat of the insect’s wings, the 


Practical Ventriloquism. 1 1 1 

even rotation of the revolving saw, or the even 
bowing of the * celloist gives out a regular sound. 
The lower notes are not strung so tightly, there- 
fore they give less vibrations of sound, and con- 
sequently produce a lower note, and by a reversal 
the tighter the string or the less scope it has for 
vibration, the higher the note. Whether the peg 
be screwed up or the finger placed on the string,, 
thereby making it shorter, the vibrations are in- 
creased and a higher note is produced. If you 
look at the back of your mouth when imitating 
a * cello (and you can give the imitation with the 
mouth wide open) you will see that when making 
the lower notes the tongue lies low in the mouth, 
but as you produce higher notes the tongue rises, 
and the air, like the Water from a pent up stream, 
when allowed a smaller aperture through which 
to escape proportionately increases in velocity, 
and more rapid vibrations being produced a 
higher note is obtained. 

The “ grunt ” represents the “ down Bow, ” 
but should be absent from the “up Bow.” The 
gliding should be only such as is possible in the 
instrument itself, that is to say any glide must 
be within the compass of one string and the 
diapason characteristic of that string. By using 
the break in the voice you imitate that form of 


1 1 2* Practical Ventriloquism. 

glide where it is made on tne note below and 
completed by adding the higher note at the 
finish. Pizzicato expression is the Banjo imita- 
tion on lower notes. 

If you give an imitation of a ’cello solo, select, 
or have sil h music written, that embraces as 
much characteristic variety as possible. 

If you introduce your ’cello imitation in a song, 
there is one of mine published by Messrs. 
Reynolds and Co., called “The Twilight” that 
I can recommend because I have always found 
it a great success. 

The explanation of the song which introduces 
it, is that a lady supplements a weak voice by 
having a ’cello obligato played, the ’celloist is 
enthusiastic and always comes in too soon, turn- 
ing a sentimental song into a burlesque. The 
verse runs so: 

I’ll meet thee in the twilight (’cello)' 

There is no time so sweet (’cello) 

For is’t not always in the twilight (’cello) 

That lovers always — (’cello) / 

Let me — ('cello grunt )^ 

Let me — (’cello grunt) 

Neath the skies above 
Let me (’cello grunt) 

Let me ('cello grunt ) 

Let me tell thee of my — (’cello .grunt, etc.) 


Practical Ventriloquism. J13 

There are many songs in which a dog or cat 
constantly interrupts, but this always appeared 
to me to be unnatural as no one would tolerate 
such an interruption, but when a lady has a 
’cello player she would go on, hoping that he 
would modify his haste — she could not have 
him turned out as a dog or cat would certainly 
be in a house where a host had any solicitude 
for the happiness of his guests. 

Bass fiddle. 

As to obtain higher sounds than are possible 
from a ’cello we use the viola, and the violin, 
each smaller and consequently using shorter 
strings, so to obtain deeper sounds we use 
larger models made with longer strings, such 
as the Bass fiddle and still lower the larger 
double Bass. 

These instruments pass out of the ordinary 
register of the human voice. The preliminary 
burr of the labial bee suggests a note on the 
bass fiddle but this imitation is limited and any 
ambition you may have to reproduce a Botte- 
sini solo by vocal instrumentation will never be 
gratified. 

The sound of a double Bass can be made 

8 


114 


'Practical Ventriloquism. 


by rubbing the thumb on the panel of a door, 
it seems an extraordinary method to adopt and 
one that has no right to be introduced here under 
vocalistic effects but still you may as well 
know of it. 

Clench the hand so as to offer a firm support 
to the thumb which, after damping slightly you 
rub on panel of door following the direction in 
which the thumb points. The way I find easiest 
is to hold the thumb downward, and rub it down- 
ward, the dampness has the effect of rosin, and 
your thumb does not glide, .but makes a series 
of little jerks resulting in the imitation desired. 

Bassoon. 

If you make the ’cello sound and form your 
lips into an O you get an imitation of this instru- 
ment. In the ’cello neither the lips nor teeth 
need be closed and they are only done so for 
appearance sake. In the Bassoon the lips niuot 
form a circle, or the character is not changed 
from that of the ’cello. 

Cymbals. 

The imitation of the clash and clang of these 
brass discs is made by a sneeze not the “ah 


Practical Ventriloquism . 115 

ah-tish-shoo ” of the charwoman, but a short 
sharp sneeze sent up through the nose at the 
back of mouth. This imitation is very good 
though it would appear to be impossible. 

Drums. 

The side drum is suggested by a sharp roll of 
the tongue “ perr rup ” “ perr-rrup ” “ tut tut ” or 
“ tat tat ” and comes in well in imitation of Band 
mixed up with other instruments. “ Boom, ” “ Perr 
rrup” gives the Big Drum followed by side 
Drum. 

AUTOMATA. 

Ventriloquial Figures, etc. 

UNDER the belief that a description of the 
various Talking Figures, and other automata 
used in Ventriloquism would be of interest, I 
submit it, as those students who think of having 
a family — a Ventriloquial family— will find it a 
great advantage to have particulars given them 
of the various kinds that are in the market, and 
their probable cost. 

There may be other Figures, etc., than those 
I have described, but they only differ slightly. 
If the reader desires to Ventriloquize with a 
Figure, and does not want to carry one about, 


1 1 b Practical Ventriloquism. 

there are Heads, but as I have said before it is 
no use my advising him strongly what to do 
either in Ventriloquism, or choice of Automata, 
for he must select for himself and to do this I 
endeavour to assist him. 

Automata. 

The man who first conceived the idea of com- 
bining Ventriloquial speech with a mouth-moving 
face is not even known by name, or I should 
have had great pleasure in men- 
tioning it here, and compliment- 
ing him on the success of his 
origitiality, which has given em- 
ployment to numerous Figure 
makers and to hundreds of Enter- 
tainers who would never other- 
wise have been able to style 
themselves Ventriloquists. 

I saw a primitive head some- 
ri S* 9 - thing like Fig. 9 \yhich was 
fitted on to an upright pole, the base of which 
was fixed to a flange that was screwed into the 
stage or a stand sufficiently weighty to permit 
of screwing being dispensed with. This head 
I was told, was about the oldest in existence, 
and that some years, ago it had taken its owner 



Practical Vcntriloquisvi. 1 1 7 

round the world, and landed him again in England 
with a good sum to his credit. 

That this head should lie neglected among the 
rubbish of a work shop, was but a confirmation 
of the inconstancy that is supposed to charac- 
terize the profession. 

The simple man’s head soon suggested a second, 
and the “ old lady, ” as she is usually termed was 
created. They were married, and lived unhappily 
ever afterwards. This supposititious union, not 
only made the “ single ” man’s head a “ married ” 
man’s head, but permitted that wrangling over 
domestic matters that is supposed to constitute 
the principal characteristic of what is termed con- 
nubial bliss. This style of dialogue appealed to 
everyone, went home to them I might say, and 
the more the old man insulted the old lady, and 
the more heartily she retaliated the more did 
the audience enjoy the distressing incompatibility 
of disposition. 

Flat Heads. 

Probably because the stands were found to 
be cumbersome, the Flat Heads were invented. 
They hung under the coat by a strap that went 
round the neck. When the Vent: wished to 


118 


Practical Ventriloquise 



disclose them he 
threw back his 
coat, and, hold- 
ing his arms 
akimbo rested the 
back of the hands 
on his hips and 
worked the 
mouths with his 
thumbs by means 
of a string. The 
surprise created 
by thro wi n g back 
the coat, the port- 
ability, the con- 
cealment of the 
thumbs in. work- 
ing were all ad- 
vantages, but the 
illusion that they were real was spoilt by their 
presentment and so they went out of favour. 


Talking Hand. 

This clever illusion is probably older than Ven- 
triloquial Figures. If you put on a white cotton 
glove, and holding your hand as indicated in sketch, 
paint red lips on the top of thumb and lower part 


Praciical Ventriloquism . 


IIQ 



of first finger; and rrmke a nose of the first finger 
knuckle, and then add hair, a wig if you like, 
and eyes, your thumb represents the lower jaw of 
the Vent: Figure, and you move it accordingly 
I remember seeing Mr. Verne, a capital Ven- 
triloquist, give an excellent Interlude with a Talk- 
ing Hand at the Egyptian Hall which seemed 
to me quite to brighten an otherwise somewhat 
cheerless Entertainment. 

Hand Heads 

Are small heads that are held in the hand 
which is covered by a frill. 




1 20 Practical Ventriloquism , 

Knee Dolls. 

These puppets have much to recommend them, 
especially for private work. The cumbersome 
stands, the obvious string pulling and unnatural 
associations are dispensed with. The Dolls can 
be carried in a portmanteau, and the Ventriloquist, 
when requested to entertain, can bring them into 
the room, seat himself, and have the Figures chat- 
tering on his knees before his entrance is noticed. 

The position is a natural one, and the hands 
grasping each Figure by the neck, work the mouths 
with the first fingers unnoticed. When the enter- 



F>g- *3> 


Practical Ventriloquism . 12 1 

tainment is over they are removed without trouble 
or loss of time, and without upsetting the room. 

For Music Halls or public performances the 
Knee Doll is out of date, larger Figures being 
required by managers; though I remember some 
years ago a man with two Knee Dolls made a 
sensation in a New York Music Hall. 

They are not expensive, as will be seen by the 
price list, and, as far as small entertainment is 
concerned, are most satisfactory. They are useful 
to begin with for practice to be exchanged after-' 
wards for a more elaborate fit up. 

Little Girl. 

As a single figure this is very effective, I had 
one that I worked with my foot, while it stood 
at the piano, and sung to my accompaniment 
and afterwards played a violin, the sound of 
course being a vocal imitation, the bow arm being 
worked by a second pedal. Whether the girl 
stands, sits on the knee, or on a stool, sings, 
plays, recites, depends upon the special talent and 
business of the Ventriloquist. 

Unruly Boy. 

It may suit the Vent: 7 s humour or voice best tof 
imitate a boy, I have seen this young gentleman 


122 


Practical Ventriloquism. 


made very amusing on the stage, as he will stand 
any amount of cuffing, and still continue his 
impertinence., 


Nigger. 

’TThis I introduce here, because, like the “ Boy ” 
and “Girl” it could be used alone as an Enter- 
tainment. The Vent: niggers have a variety of 
•accomplishments, some dance, some can smoke 



Fig. 14. 


(if this be an accomplishment!) some play the 
Banjo, but the principal use of the nigger is to 
utter an idiotic laugh whenever an interruption 
is wanted, an awkward pause takes place, or 
the proceeding generally wants some little en- 
livenment. 

If laughter is to be his sole office the top half 
of the head should hinge on to the lower, so. 


Practical Ventriloquism. 


123 


balanced that a 
tug at the string 
causes him to 
throw his head 
back in a fit of 
unrestrained 
laughter which 
the Vent: sup- 
plies. When the 
string is slack- 
ened the ‘face 
assumes its nor- 
mal expression. 

If he play the 
Banjo, it should 
be made to hook 
on to his shoul- 
ders and be de- 
tachable. It can Fig. 15. 

always be fixed if a little suitable patter be 
introduced to cover the pause, this applies to 
any necessary adjustment. 

Banjo hooks at A and A. Left hand hooks at B. 
Right hand manipulated by wire piercing sleeve 
at back and fixing into nigger hand A. The 
wire protrudes at back and is bent as desired to 
be held by Vent:, Its weight causes it to fall 



124 


Practical Ventriloquism ._ 



Fig. 16. 


in positron where it is not 
seen and always ready. 

This bent wire can be 
used with any Figure, pro- 
vided the figure is on a 
level with the performer so 
that its manipulation is con- 
cealed. 

Nigger loquiter. 



Fig. 17. 


Practical Ventriloquism. 


125 


"Nice massa want de barber!” 

(The Vent: in above touches his own chin 
with nigger's hand, Working behind it while his 
left foot works mouth by means of a pedal.) 

Dancing niggers can be worked from a distance 
by a cord or from behind a screen by elongated 
feet which the performer seizes in both hands. 



Fig. 18. 

A better plan, than going behind a screen, is 
to work the feet by wires using the long tails 


Practical Ventriloquism. 


1 26 



Fig. 19. 


of the nigger’s coat to conceal 
the hand, which they will do 
if kept close together. 

The feet are called ma- 
^rionette feet, the joint^and 
weighted toe giving the 
double rap of the clog dancer. 

To make a nigger smoke 
is not difficult, if fitted with 
a bellows and tube. By 
working mouth with treadle 
and placing cigarette be- 
tween nig:’s fingers he can 
be made to put cigarette in mouth and take it 
out at will. The hand which is a tightly stuffed 
black cotton glove does not retain the cigarette 
against the grip of the mouth, though by forcing 
the fingers round cigarette 
and opening mouth it can 
be removed. The wire to 
arm gives complete control 
of all movements as though 
the performer made them 
himself. The smoke is not 
from cigarette but from a 
special pipe bowl, india-rub- 
ber ball or bellows, which: 



Fig'. 20. 


Practical Ventriloquism . 


127 


being pinched draws the lighted tobacco and 
blows it out of mouth. 

Stationary Figures: Half Size. 

THES£ figures are much larger than Knee Dolls 
and being fixed to their seats if sitting, or to 
stands if standing are capable of more extended 
movement of head and neck than is possible with 
Knee Dolls, where the Vent:’s hands are partly 
employed in supporting them as well as in mani- 
pulating their mouths. 

With fixed Figures 
the Ventriloquist is free 
to move about. 

The mouth is worked 
through a movable 
neck from inside the 
body, which allows the 
head to peer about, 
the neck stretched a 
foot or so in any direc- 
tion, or disappear as 
the head is allowed 
to rest close on the shoulders. The heads of the 
w O.L. ” and “ O.M. ” can be turned instantly towards 
any sound that occurs, or in their domestic 
differences their faces can be made to meet. 



Fig. 21. 


128 


Practical Ventriloquism . 


A back view of this style of Figure will show 
how easily an endless variety of movements are 
obtained, as it will be perceived that such move- 
ments are not limited by the extent of arranged 
mechanism that gives only certain effects* 

The hollow body B permits the hand, working 
the mouth moving neck and head inside, so much 
freedom of action that it not only enables it to 
imitate every movement of the human head and 
neck, but supplement them by others of a gro- 
tesque character no human head and neck could 
ever achieve. 



The above sketch shows the back view of a 
body without drapery, which of course overlaps 
and conceals the opening A and B without pre- 
venting the insertion of neck and head in A or 
performers hand in B. 



Practical Ventriloquism. 


129 


The spike C is fixed on the bottom of 'the 
figure and is hidden by the dress. This spike 
fits loosely in the hole made in the seat upon 
which the Figure sits, and, being loose, the body 
can be made to sway about by a push with 
the wrist when the hand is manipulating the 
mouth-moving neck. 

This neck is dropped into the body through 
the opening A in the following diagram: when 
the small spike B touches bottom the head is in 
position and will remain so. 

The right hand 
of the performer 
in this Figure 
(which would be 
on his right) 
clutches the 
“ clutch ” C at the 
same time, the 
thumb is inserted 
in the ring to the left of C, which, by a downward 
movement of the thumb communicates with the 
mouth by means of a gut string D and opens it 
by moving the lower jaw down, which, as soon 
as it is released, returns to its place by means 
of a spring and the mouth is closed. 

It will be understood without further illustration 

0 


A 



Fig. 23. 


130 


Practical Ventriloquism . 


that if C be held in the hand, any upward movement 
raises the head, a movement to the left causes 
the head to go to the right and vice versa, a 
turn of the wrist will turn the head round to 



Fig. 24 

right or left, by drawing the clutch out of body 
the head looks down and by pushing it into body 
the head looks up. Half an hour’s practice with 
a doll of this description will give you further 


Practical Ventriloquism. 1 j 1 

assurance of its powers and quite confirm any- 
thing that I have said in its favour. 

The mouth-moving head and neck is detachable, 
and when packed fits inside body and wrapped 
in cover travels without fear of injury. 

For purposes of compactness in packing the 
backs of bodies, heads, etc., are made flat. The 
buttons on coat are flat as otherwise in travelling 
they would soon wear the clothes, and besides 
this would not pack so well. 

The arms are made to look muscular by means 
of rings sewn inside the sleeves, as is done with 
Marionette Figures. When the Figures sit, the 
Box they travel in is often used in various ways 
for the purpose, when covered with a bright cover. 

The disadvantage of the majority of sitting 
Figures that utilize their own boxes, is that this 
arrangement covers up the performer, a matter 
I have preached against before when referring 
to stage dressing,* and compels him to give his 
Entertainment as a shop man sells neckties — 
from behind a counter. 

The late Henry Ward Beecher when he 
preached in Brooklyn never used a pulpit but had 
a small platform which gave him freedom for 


132 


Practical Ventriloquism . 


gesture. He had a commanding figure, and did 
not hesitate to avail himself of dramatic effect to 
give interest to his discourse, either by gesture 
or by facial expression, and from my point of view' 
whether it be religious discourse, amusement, 
science, politics or Ventriloquism the rules of 
effect must be observed, if your desire is to im- 
press men with your utterances, whether they be 
religious truths, or phonetic facts. If it were 
better to read from a pulpit, Miss Terry and Mr. 
Irving would have read from pulpits when they 
gave readings recently — but the suggestion only 
provokes laughter. 

You may take it from me that dwarfing yourself 
in any way is disadvantageous and in selecting a 
Ventriloquial Fit-up, this should be borne in mind. 

Mr. Cole, an excellent Figure worker, hashis O.M. 
and O.L. figures standing each side of him though 
it would make more variety, and suggest greater 
gallantry on his part towards the fair — well, the 
“ opposite ” sex — if his old lady were allowed to sit. 

If you had the. O.M. standing, as in the last 
Figure I have described, and the O.L. sitting, 
the head worked as a Knee Doll’s head is 
worked, .you would find that your left hand resting 
on the old lady’s shoulder would be natural, while 
your right when you stood near old man would 


Practical Ventriloquism. 133 

under cover of his left arm make the necessary 
movements without being seen. 

To these two figures you rely for the back 
bone of your Entertainment, and additions must 
be made with care, or you will soon have a lot *f 
puppets not worth the trouble of carrying about. 

The Little Girl is a natural “follow” to the 
O.L. and O.M., and the nigger is a good “in- 
terruption ” and, if he dance, a rest to the performer 
and a change to the audience, though how a 
dancing doll comes to be called “ Ventriloquism ” 
is a question I leave to better informed Ventri- 
loquists than I am. 

With all the modern improvements the “old 
man” is a fearful wild fowl, and as difficult to 
work as a Locomotive. His nose and scarf pin 
are illuminated by electricity. His hair stands 
up, not like “quills upon a fretful porcupine,” 
but like a hirsute trap-door. His nose pulls out, 
and both eyes squint when this • operation is per- 
formed, eyes wink at so much per wink per eye, and 
so many things come to my recollection that the 
old man has done, under the guise of Ventrilo- 
quism, that I feel quite justified in having rigidly 
defined what Ventriloquism was at the outset 

Figure makers in moulding the features of 
talking puppets are not in the habit of erring on 


134 


Practical Ventriloquism. 


the~side ot personal loveliness, though for drawing- 
room work they might be a. little less repulsive. 

While on the subject of ' repulsiveness don’t for 
Heaven’s sake try any experiments on children 
with a talking monkey, I — but that’s another 
story, and will be found in my concluding chat. 

Although the “ old man ” “ old lady ” and such 
added figures as you choose, is the most general 
form of employing puppets, you may have a re- 
presentation of a police court, and, as a sleepy 
policeman, work your magistrate and introduce 
witnesses, etc. This would require a more ela- 
borate fit up, and the use of pedals and strings 
which could be worked under cover of a witness 
box, etc. 

If you wish you could make yourself the In- 
terlocutor of a small minstrel troupe by blacking 
your face, and using a pair of false arms that 
allowed your real ones to work the strings. 

The old man and family might be sitting at 
Tea, when you require them to have workable 
arms and hands to take Tea and whatever deli- 
cacies you provided. 

I have seen a Ventriloquist make the old man 
a King, the old lady a Queen, and himself a 
jester, but though original, this arrangement did 
not appeal to the audience, as the vulgar old 


Practical Ventriloquism 135 

man does with his usual and recognized surround- 
ings. I saw this at the -Aquarium Westminster 
where one would imagine the audience would be 
familiar with courts, if it were but -ihe one in 
which they lived. 

ANIMAL AUTOMATA. 

In thofee countries where English — the language 
of Ventriloquy — is not spoken the universal vola- 
piik of animals is resorted to and all sorts of 
mechanical creatures are manufactured, from the 
melancholy looking white cockatoo, with five 
distinct motions, to india-rubber self-righting pigs 
that will permit you to kick them all over the 
stage and only squeak when you Ventriloquize. 
Let us consider them dispassionately. 

Pigs. 

I HAVE always found that whatever I wanted 
made in the ‘way of animals, whether antedelu- 
vian, or up to date the manufacturer never doubted 
his ability to make them, so that, although I 
never saw “ the self-righting inflated india-rubber 
pig ” I have no doubt that it was used by Ven- 
triloquists who were also football players.. 


*36 


Practical Ventriloquism. 

Cat 


I saw a cat that when stroked opened its 
mouth and raised its tail to a perpendicular posi- 
tion. the performer supplying the necessary feline 
dialogue. 


Monkey. 

As a monkey does not talk this puppet is un- 
natural, and when introduced — but of this later on. 

Parrot 

This bird does talk, and so a dummy parrot 
suggests nothing unreal when used for Ventri- 
loquy. As much Entertainment can be got from 
a Ventriloquial parrot as from a real one, which 
is saying a good deal. 

Dogs. 

If you have a good bark, a dog could inter- 
rupt instead of nigger, and the singing dog busi- 
ness be caricatured. 

There is nothing to prevent you having assis- 
tance from models whatever sound you imitate 
whether animal, instrumental, or anything else, as 
soon as you discover what kind of Entertaining 
suits you best. 


Practical Ventriloquism. 137 

A gentleman recently in singing my song 
“The Twilight” dressed himself on one side as 
a man, on the other as a woman, using the piano 
and a ’cello as the song necessitated. He found 
the song suited him, so he procured all the assis- 
tance he could think of, which illustrates my 
remarks on the use of automata. 

I reprint the following characteristic Price List 
of a well-known maker exactly as I received it 
without alteration. 










PART V. 

CONCLUSION. 


Having accompanied me so far the reader 
will understand, especially if he have ever before 
tried to study Ventriloquism from books, the 
reason of my seeming punctiliousness in regard 
to classification. It was the only way I could 
say clearly what this art of imitating near or 
distant sounds was. The reader now has no 
more confusion on the subject than I have, and 
can arrange an Entertainment to suit his fancy and 
know exactly of what materials he is building it. 

It appears a very easy matter to lay down a 
few simple rules, and reduce all relevant matter 
to comprehensibility but it is not so in an art 
in which its study and its apprehension is in a 
chaotic state, its nomenclature false and its true 
character perverted by careless or intentionally 
misleading statements from the stage and published 
anecdotes that further the general misunderstand- 
ing about it. 

(139) 


1 40 Practical Ventriloquism . 

It had struck me as very curious that I could 
not Ventriloquially Imitate a fop or aristocrat, 
or rather that class of speech we associate with 
the better class, but could only imitate a rough 
spoken labourer or yokel. 

The reason I discovered was that Ventriloquism 
can only be done in the back of the throat, and 
it is in this way all the lower classes speak. As 
people become educated and refined they speak 
against the palate, and the more refined the more 
forward do they speak, until you have the speech 
of the affected person, which is made by forcing 
the sound against the front teeth, when you have 
the sound as far removed from the yokel’s method 
of production as is possible. The masher, the youth 
who tries to be manly by affecting to effeminate, 
all bring the sound in voice production too for- 
ward, more forward than nature intended, and this 
they conceive shows good breeding or superiority. 

If they knew how .foolish it sounds to a Ven- 
triloquist who could of course be vocally aristo- 
cratic if he liked, they would drop it very quickly. 
This fact of refinement being indicated by the 
position of the sound being made in mouth is an 
interesting fact in the ethics of speech and it 
also explains fully why it is only the yokel who 
can be imitated Ventriloquially. 


Practical Ventriloquism. 1 4 1 

In drawing birds English painters seldorp if 
ever make the wings down, though this attitude, 
is quite as often assumed in flight, the position 
of. the horse also becomes an accepted one and 
so have the sounds of the duck, cat, parrot be- 
come accepted as correct though no duck ever 
said “Quack” no cat “Meoiu” and no parrot 
“Pretty Poll” nor dog “Bow, wow, wow.” I 
am sorry to destroy lares and penates long cher- 
ished but they must go before the advance of 
phonetic truth. It may be a parental wisdom 
that adopts towards a child a style of language 
that verges on the idiotic, “Did um knock its 
’ickle tootleums?” or some such phrase is sub- 
stituted for “Did you hurt your little foot” but 
why not accustom a child to good English from its 
infancy ? and why mislead it by talking of a “Quack 
quack ” or telling it that a parrot says “ Pretty 
Poll ” or accustom it to the correct pronunciation 
of foot by talking to it about its “tootleums.” 

It may be thought that I do not go sufficiently 
into detail in vocal mimicry, but I have said as 
much as is really necessary or I should have said 
more. In teaching painting the student is taught 
the theory of colour, perspective, etc., and then 
left to imitate a duck, or anything else by study- 
ing it from nature. He is not told that in 


142 


Practical Ventriloquism. 


painting a duck that its bill is yellow, its body 
white, its eyes small and dark, he discovers these 
things himself and knowing how to handle brushes 
and pmlatte soon imitates the duck on canvas, 
just as the reader having learnt to use his vocal 
organs and palate soon imitates the bird phonetically. 

In teaching I have always endeavoured to lay 
Ja foundation, to create a correct taste, and serve 
my pupils with a reasonable method of study, 
not .merely say by doing this you imitate so and 
s.o* but by acquiring this you can employ it for 
all sounds of a certain class, thus certain rules 
becDjfie known and the varieties of sounds distant, 
near,- reedy, vibratory, etc., are easily conquered 
because the method is understood and immediately 
employed to realize the required effect. 

I became fascinated with Ventriloquism and it 
was the recollection of the difficulty of obtaining 
instruction, and its rudimentary character when 
obtained, that made me determined to formulate 
some reliable method, to which end I have given 
years of study to produce an exhaustive and 
practical treatise on this art. When I consulted 
the teachers I could find, I knew nothing about 
it, but thought only of giving a “skit” of a 
Figure worker in my Entertainment. The whole 
subject became interesting because I perceived 


Practical Ve?itriloquism. 143 

it could be acquired, and X acquired it, but in 
the after light of experience I determined to 
supply for Ventriloquism what other arts possessed, 
a system of study, I have not had books that 
I could consult because there are none written, 
and those that assume to be guides are not only 
worthless, but with my experience I assure you 
I cannot make head nor tail of what the writers ' 
mean. When a writer says that “our greatest 
singers are in the habit of using the Ventriloquial 
voice in singing,” he writes unqualified bosh and 
he might just as well tell me that Joachim 
always plays the violin at the “Monday Pops” 
while standing on his head. 

The quantity of anecdotal nonsense that is 
published about Ventriloquism annoys and amuses 
me, but people always enlarge upon facts, though in 
my opinion what the human voice can be employed 
rightly in, is far more extraordinary than anything 
imagination suggests; and I write with a perfect 
belief that a right understanding of this art will not 
injure but enhance it in the estimation of the public. 

I can recall an anecdote in print in which Mr. 
Toole, the comedian, was the hero. The exact 
phraseology I forget but the facts I am certain 
of as far as they pertain to Ventriloquism. 

Mr. Toole accompanies a grey-bearded old man 


144 Practical Ventriloquism. 

to his rooms, the man having supplicated charity. 
Arrived in the room the grey-beard removes his 
disguise and develops into a young man of 
pugilistic tendencies with evident intentions of 
robbing the good Samaritan and actor. Where- 
upon, Mr. Toole, using his Ventriloquial powers, 
throws his voice beyond his would-be assailant, 
who stands between him and the door, and causes 
him — the would-be assailant — to hear voices behind 
him, whereupon he turns in his fear and permits 
the comedian to effect his escape. 

If Mr. Toole could Ventriloquize at all under 
the circumstances it is wonderful, but if he can 
in my presence throw his voice beyond and to 
the back of the listener , I’ll immortalize him in the 
next edition as a Ventriloquial genius. 1 can say 
this to the reader, for he knows as well as I do that 
the statement is untrue and any writer who made 
it must be ignorant of the limits of voice throwing. 

Centuries ago Ventriloquism, like conjuring, 
was extensively practised by the priesthood to 
compel people to acknowledge their divine inspi- 
ration. Miracles were performed and the credulous 
and ignorant paid a high price for what was 
really an ordinary Entertainment 

Had I lived then and written this book I should 
have had a lively time of it, if I escaped being 


Practical Ventriloquism. 1^5 

executed as a dangerous atheist but in the present 
day under the protection of a benign County 
Council I feel secure, unless of course I start a 
place of Entertainment and try and uphold that 
standard of art with which I have always tried 
to associate myself. 

Painting and music are advanced not degraded 
by being open arts. I have seen Mr. Alma 
Tadema give the whole of his mind to a youngei 
artist’s work, pointing out its beauties, its defects, 
and for the sake of his art he has probably by 
advice assisted many. Mr. Henry Irving did 
when we were dressed for the Merchant of Venice 
as Shylock and Stephano, and would in the same 
way give me the benefit of his experience on 
my acting in some other play.- 

Mr. Beerbohm Tree has interpolated sugges- 
tions from me in a play under the same broad 
feeling for art receiving them in the spirit they 
were given. 

I quote these instances because I may be 
adversely criticized in making Ventriloquism an 
art, that all may essay, as I have done, even 
though those I instruct may surpass their 
instructor; a contingency that may possibly hap- 
pen to me, as to those gentlemen whose names 
I have taken the liberty of introducing, but as 


10 


146 Practical Ventriloquism. 

they sink their personal prospects in the general 
advancement of their art so do I with mine. 

There is too much contempt used when “art” 
is spoken of, and yet you find at the top of the 
tree the men who are the most artistic. It is 
the abhorrent, the false sentiment, the revolting 
that is offered to the public under the name of 
art that brings it into disrepute. 

Ventriloquism need not abandon the canons of 
art, need not be vulgar to be successful, but will 
be more permanently successful if characterized 
by good taste. 

My friend Professor Hoffman has in his elabo- 
rate works on magic, placed the art on a much 
higher footing and compelled the performer to 
be more original if he would be successful, and 
if the greatest good be the happiness of the 
majority, books of this class whether on conjuring 
or on Ventriloquism certainly justify their issue. 

For my part I am convinced that the more 
known of the marvellous power of the human 
voice the more will it be admired, not for what 
it cannot do, but for what it can do, if properly 
trained. 

Nature does greater conjuring tricks than any 
conjuror, the production of a sweet smelling flower 
from a dry hyacinth bulb and water, is a trick 


Practical Ventriloquism . 147 

being performed under my nose, I am glad to 
say, and one not. easily beaten. And I take it 
that intelligently considered, the vocal tricks 
illustrated by artistic Ventriloquism are far more* 
surprising than the nonsense published in anec- 
dotes of Ventriloquism of what Ventriloquism 
cannot effect. 

It is curious that Ventriloquists are nearly all 
English, that is English, Australian or American. 
You find very few, if any, French Ventriloquists 
though it is easier to ventriloquize in French 
than in. German. I have read of a German Ven- 
triloquist, who imitated a lion and of course used 
Figures. The general character of the German 
voice is a d£ep bass; I know in America we 
find it very difficult to get German tenors for 
part singing though basses' were . in abundance. 
This is quite in keeping with the lion roaring 
Ventriloquist pf Germany. From Australia, owing 
to a climate that permits of Venfriloquial and mi- 
micry practice, we probably receive our best artists 
in this line,, for the same reason that on the clay 
soil of Lancashire it is difficult, to secure choir 
boys, while in Yorkshire which is more chalk 
they are as plentiful as blackberries in autumn. 

The interest foreigners take in Ventriloquism 
I should say goes to prove that it is not so 


1 48 Practical Ventriloquism. 

common abroad as it is at home. I remember 
at the charming, country seat of the Baroness 
D’Erlanger entertaining among other distinguished 
guests the King Milan of Servia, Prince Edward 
of Saxe-Weimar. They took great interest in 
the Ventriloquism and insisted on my bringing a 
voice out of the piano while they stood round 
me. and watched my mouth. 

At the Savage Club (when at Savoy) I did 
fhe man outside the window, when the French 
Ambassador, who was present, paid me the com- 
pliment of saying that he knew I had someone 
outside. I asked my brother Savages to be 
allowed to convince him, and when this permission 
was accorded me, I brought a voice from his 
inside and made it crawl up his throat.* When 
I had done, I said, “You are convinced any 
way that I have no one inside you?” To which 
he replied, “No, I am not so sure of that but 
I will admit that you had no one outside the 
window.” 

When I first comprehended that I could acquire 
Ventriloquism with a little patience and industry 
my mind reveled to Valentine Vox and I rather 
revelled in the prospective practical joking in 
which I could indulge, but by the time I had 
perfected myself I had lost all inclination to use 


Practical Ventriloquism. 149 

the power I had acquired except for Entertaining 
professionally and very seldom do I remember 
that I have availed myself of voice-throwing in 
every day life. 

Once, when having my hair cut, a loquacious 
barber was expressing his opinion that Ventri- 
loquism was all nonsense. As I happened to 
be sitting near a partition that divided the Hair 
Cutting from the Tobacco Selling department of 
the same establishment I imitated a customer on 
the other side of the partition. I allowed the 
barber to open the door twice, after which 
he sang very pianissimo about the inefficacy of 
Ventriloquism. 

On another occasion a lady challenged me to 
Ventriloquize on board a steamer whereupon I 
simulated the cry of a man in the water and 
the passengers with one accord went to the side 
of the boat. 

It may be in my case that Ventriloquism being 
ray business I never amuse myself with it, because 
one grows accustomed to surprising an audience 
and there seems no fun in giving gratuitous 
performances of work that brings you an income, 
and besides which experiments on my part savour 
of “shop.” To the amateur, however, who studies 
Ventriloquism as a recreation, there is no end 


150 Practical Ventriloquism , 

to the amusement he can derive from this art, 
and a good Ventriloquist could certainly enliven 
a pic-nic party or other gathering where he is 
surrounded by friends bent on pleasure. 

Professional Ventriloquists, whose abilities or 
ignorance restricts them to automata, will say 
there is no such thing as “voice-throwing” but 
they are wrong : for a perfect imitation of a voice 
spoken in a room above or below can be obtained 
by a skilled artist. 

I had a discussion with a professional Figure 
Worker once, and gave him an imitation of a man 
on the roof. He sneered at the experiment saying, 
“that he could hear that I spoke,” but I some- 
what disconcerted him by showing him that it 
: :vas a man on the roof he had heard by letting 
the man open the skylight and ask if I wanted 
him any more? 

Never attempt Ventriloquism unless you have 
such surroundings as to make it effective ; after a 
time you can tell at a glance just how to throw 
your voice to suit the room or place you are in. 

I must. not forget to tell my monkey story: — 
A manufacturer assured me that a talking monkey 
afforded children unbounded delight, in fact sweets 
and cakes and such things paled before the en- 
thusiasm children showed for the talking monkey. 


Practical Ventriloquism . j e; i 

Acting on his advice— not disinterested, as he 
manufactured the creature— I bought the animal 
in question and with it confronted a room full of 
happy and innocent children. It was my first essay as 
a Ventriloquist and I was diffident and doubtful, 
but with the eulogistical recommendation of the 
“Professor,” who made the monkey, impressed 
on me, I had it brought into the room covered 
with a pretty silk cover. With a brief preface 
on Natural and Unnatural History I removed the 
cover and — well, never in the whole course of my 
life shall I forget the terrified screams of those 
frightened children, they shrieked, cried, overturned 
stools and chairs' to get as far away as possible 
from the ghastly baboon with which I had con- 
fronted them. I stood looking like a fool and I 
certainly felt like one. Fortunately the party 
was in my own house where my wife had engaged 
me from motives of economy. 

I tried the monkey on grown up audiences, a 
few times, thinking it was a pity to waste it, 
until one day I saw with gratification that it had 
been left behind on the platform as the train I 
was in went out of the station. I gave a sigh of 
relief and never troubled any further about it. 

One meets some curious people who apply for 
lessons. One young gentleman came to me, and 


1 5 2 Practical Ventriloquism. 

said that the young lady he was in love with wouldn’t 
have him, but he thought that if he could imitate a 
’cello like I did, it would propitiate her in his favour. 

I did not hazard an opinion on such a delicate 
subject but offered to teach him to imitate the 
’cello, but without, of course, making myself re- 
sponsible for its effect upon the young lady’s 
matrimonial inclinations. He came down twice 
to Richmond and then disappeared and I have 
never heard from him nor seen him since. Whether 
the young lady wisely thought it better to marry 
him before he had learnt the ’cello or whether he 
decided on lingering on as a bachelor and ’celloless 
I don’t know, but an interesting experiment 
showing the alliance of vocal mimicry with 
matrimony was abruptly broken off. 

Speaking with a deep sense of apology to my 
wife I should advise any young lady not to 
marry a man who imitates musical instruments. 
I am told, and I feel I have no defence against 
the accusation, that I break out into clarinettes, 
cornets, in the dead hours of the night, even going 
to the length of giving an imitation of a full 
Band, in my sleep, interspersed with realistic 
imitations of passing sheep, rooks and the uproarious 
jackass. This sort of things tries the patience of 
the most affectionate wife. 


Practical Ventriloquism. j 5 3 

Dogs resent Ventriloquism, the voice is a common 
one and they are suspicious of it. I remember 
an instance on a house-boat, pretending to imitate 
a man in the kitchen having closed the door 
that divided it from the saloon, directly the dog 
heard it he darted out of the room making every 
one laugh and clap. He had gone round the 
deck and got in at the open door at the back 
to catch the man he heard. T^e returned looking 
very sulky, and never would go again. 

A nobleman, at whose house I was staying for 
some shooting, had a very clever dog; for a joke 
he wanted me to induce the company to believe 
that the dog could talk. This illusion was carried 
on for. some time till the dog, when I made it 
sing, left in disgust .and uttered a moan just in 
the key I had left off and passed through the 
guests continuing the moan — the effect to an 
assembly who did not know I was a Ventriloquist 
was very remarkable. 

At Raglan Castle I gave an Entertainment in 
the open air and throwing my voice up in the 
ivy covered ruins said, “What are you doing 
there?” To my amazement a voice answered, 
“I climbed up ’ere this mornin’ just to see the 
folks and ’ear the music, I won’t do no harm.” 
I replied, “ Very well, stay there and don’t let 


154 Practical Ventriloquism. 

anyone see you, do you hear?” the reply came, 
“Yes, musjer, I ’ear.” This got me thunders of 
applause, I made up my mind to risk it so I 
bowed and the boy never showed himself. 

Once, in an underground room, I said I would 
imitate a person outside the window, which was 
just above the level of my head, at the back of 
the platform. I had just turned to do so, when 
a boy, who had been lying on his stomach trying 
to get a glimpse of the proceeding, suddenly 
knocked at the window and shouted out, “ What 
a rotten Entertainment!” after which complimen- 
tary remark, he got on his feet and ran off. I 
was just turning to apologize for the interruption, 
when the audience broke out into loud applause, 
when I perceived that the whole effect had been 
attributed to my Ventriloquial. powers. 

If such accidents do happen, turn them to your 
advantage if you possibly can, to do which }^ou 
require three things, firstly impudence, secondly 
impudence, and thirdly impudence. 

If I have not met with some difficulty you encoun- 
ter in study, or left something that is not sufficiently 
explicit, I should always be pleased to answer 
any personal communication through the columns 
of “ The Bazaar.” 

And so, reader, I must now drop the curtain. 


Practical Ventriloquism. 


15-5 

Lest you, my patient audience, grow weary of 
me, I must pack away the puppets, for the play 
is over, my theme is exhausted, my little volume 
is finished. As for myself, I wish you all success, 
and like our friend “Jack” say in ventriloquial 
farewell, “Good-night, good-night ” till my voice 
dies away and you hear it no more. 






■» 



/ 


/ 


% 


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dAL By Harriet Beecher Stowe. This is 
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Standard Cyclopedia of Recipes. 

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Twentieth Century Cook Book 

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Abbott’s Travel and Adventure Library. gVbo°? t b 

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A I Qnhnnl Tlie Diar y of a School Boy by 

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Diseases of Dogs, Their Causes, Symptoms 

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Twentieth Century Guide to Palmistry 

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Were You Born Under alucky Star? gsriss: 

sltion ol tho Science of Astrology, adapted from the Four Books 
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The American Star Speaker.- 

the handsomest and best arranged compilations of readings and 
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American Nights Entertainments. 

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McBride’s latest Dialogues. 


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Patriotic Recitations. 


This is the choicest coll»>c*lon of 
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Sunday-School Entertainments. 

church or Sunday School entertainments you will find nothing 
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Familiar Recitations 


Here is the collection that might 
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Among the hundred pieces in this book may be found : “Rock of 
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Humorous Recitations. thing real humorous you will 

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Choice Temperance Recitations, ? e g sld t ?e •sss 

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Holiday Entertainments:' 


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mon;” “True Heroism;” “The Golden Wedding;” “A Trial of En- 
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In this assortment of comic, humor- 
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The Century Bools of Recitations. tory chapters 

on hints, style of delivery and principles of Elocution. This book 
of 256 pages possesses many unique features ; the recitations are 
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i3 full enough for all purposes and will acquaint the reader suf- 
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The Century Booh of Irish Wit and Humor, 

This book is the cream of all Irish speakers. Irish Wit and 
Humor is a factor in human experience which the world can ill 
afford to lose. In his haste to express himself in any acquired 
language, not native, the metaphors get mixed, and his thoughts 
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Boat Building for Amateurs, 

tains full instructions for designing and building all manner of 
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New Century Book of Etiquette, 


A complete up- 
to-date manual 

of etiquette, or Guide to the Duties, Pleasures, Details and 
Studies of Life. No part in daily conduct has been omitted. The 
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and teachers aa well as young people of both sexes. 18<1 pages; 
pocket size. Elegantly bound in 

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ted silk cloth, back and side stamped in gold 50 cts. 

i. B. C. Guide to Ball Boom B::s;ra.5:, d . 

3ook. This work contains an exhaustive summary of all the 
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found dances, waltzes, etc. It also contains complete quadrille 
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A D ft By Josiah Booth. This book 

II. D* Wa UlBIlfC 10 tvSlloiU. will serve to introduce all into 
the theory and practice of the Musical Art. It contains simple 
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eminent composers, and a complete dictionary of musical terms, 
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Brown’s Business letter Writer and Book of 
Commercial forms. an y d c ?“ r eItinr=oiie«io c n”fS 

ters ana notes for ladies and gentlemen. Accurate directions are 
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forms of notes, drafts, wills, deeds, agreements, leases, etc. It is 
adapted to every age and station in life and to business pursuits 
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Complete letter Writer for ladies end Gen- 

flomon By C. W. Brown. In addition to the great number 
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Silk cloth, gilt top. Price 81 .00 


lave letters and How to Write Them. 8? K 

Here is just the book not only for all unmarried folks, but other 
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Follow the forms here laid down and you cannot go far astray; 


150 pages. 

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Bookkeeping Without a Master. for the student, 

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The New Century Webster Dictionary To'^ir. 

The very latest up-to-date; 28,000 words. This edition has been 
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Hn Rlicinocc B y CMBr yant, Ph.D. Am.*nualof self-instruc- 
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It contains facts, figures and general Information, involving law, 
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First Steps in Magnetism 

tended strictly as an introduction to the science of which it treats. 
Theories may and do frequently change, but the facts of nature, 
upon which they are founded are immutable. So we should study 
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First Step in Electricity. S. Specially adapted to 

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First Lessons in Voltaic Electricity. iMrr 

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Telegraphy and How to Learn it, tera on Elemen- 
tary Electricity. The importance of uniting these two allied sub- 
jects is apparent to any one about to take up the study of Teleg- 
raphy, either for a livelihood or pastime, and who has not a 
rudimentary knowledge of the theory of Electricity. This book, 
therefore, treats of the Electro-Magnetic Telegraph in its simplest 
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this treatise. Handsomely illustrated and bound in cloth. 

Price $1 00 

Modern Blacksmithing, Rational Horseshoe- 
ing and Wagon Making. valuable work is written by a 

man having thirty years’ practical experience; Elementary rules 
are employed, thus avoiding the more technical terms, rendering 
this treatise practical and invaluable to all who have use for 
it. Even the oldest blacksmith or wagon maker will find many 
helpful suggestions, and any young man can master the prin- 
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Invaluable to farmers, horseshoers, wagon makers, machinists, 
liverymen, well drillers and manufacturers. Fully illustrated. 
Elegantly bound in handsome dark red. 

Cloth $1.00 

Half morocco 1.50 


. B. C. Guide to Photography. 


Fortune Telling by Cards, 


By T. Stith Bald- 
_ __ _ win. A practical 

handbook containing instructions for Amateur Photographers, 
simply written and easily understood. Any man, woman or 
child of ordinary intelligence, without previous experience, can 
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sary to operate, develop and print. 124 pages, profusely illus 
trated. Pocket size. 

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By Madame Chira- De- 
_ scribing how Cards are 

“Read” by persons professing to tell fortunes by their aid. Mad- 
ame Chira is without doubt the greatest Fortune Teller by means 
of Cards that has ever visited America, and this, her only and 
authorized book, is like the author, without a peer. If you would 
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herself. Fully illustrated. Bound in 

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The Mystic Circle Fortune Teller and Dream 

By Mme> De La Normand. This book contains an 
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13 


The Book of Card Tricks and Sleight-Of-Hand. 

By Prof. R. Kunard. There is no book published on this subject 
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Practical Ventriloquism jugkly reliable guide to the 

Art of Voice Throwing and Vocal Mimicry, Vocal Instrumenta- 
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Herrmann’s Conjuring for Amateurs. 

how to perform modern tricks, by Prof. Herrmann. Great care 
has been exercised by the author to include in this book only 
sach tricks as have never before appeared in print. This assures 
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Shadow Entertainments. b^k A ihe p aiS?r°&isS.w«;j 

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Keller’s Variety Entertainments. This is a collection 

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Phonography, Second Sight, Lightning Calculators, Ventrilo- 
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Comedies, Fully illustrated. 

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McClure’s American Horse, Cattle and Sheep 

Rnntnr By R°bt. McClure, M. D., V. S. As a stock doctor 
UDUIUI. book, treating the diseases of the three most profit- 
able as well as most common of farm animals, save the hog, this 
book never had a peer. It is the most valuable book ever pre- 
pared for the farmer, and if we may judge its popularity by its 
sale, it is the most successful book for the farmer and stock 
raiser ever written. The illustrations are excellent. 
Handsomely bound in silk cloth. Price , $1.50 

American Standard Poultry Book. Wright. " This 

book is the recognized standard treatise on Poultry Raising. It 
treats fully all phases of the business — incubators, houses, 
brooders; the various breeds — ducks, turkeys, geese, guineas ; the 
diseases of each ; how and what to feed ; howto market — in short, 
if one follows the instructions contained herein, he may con- 
fidently look for success. Profusely illustrated and bound in 


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Standard Belgian Hare Book. XJti 

Hares is no longer a fad ; as a commercial enterprise, it is bring- 
ing thousands of dollars to those who are engaged in the busi- 
ness. Belgian Hare raising is the most profitable business one 
can engage in, and there is no reason why a fortune cannot be 
made in a few years if one will study carefully the methods laid 
down in this book, and avoid making the mistakes that prove 
costly in all new enterprises. Diseases common to Rabbits are 
fully treated. The book is profusely illustrated and bound in 


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A. B. C. Guide to Poultry-Keeping 200 pages has 

the endorsement of the leading poultry raisers of the United 
States, Canada, and even Europe where it has found its way, be- 
cause of its completeness and honest treatment of the pains and 
penalties as well as the pleasure and profit in poultry raising. 


Fully illustrated. 

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A. B. C. Guide to Bee-Keeping. A practical manual 

of the proper care and management of Bee's, designed especially 
for amateurs, beginners and farmers, and all others, including 
experts who have found this book the most helpful guide to api- 
culture published. Newly revised and enlarged. More than 100 


pages and profusely illustrated. 

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14 


/ 


Swine and Their Diseases. 

Swine and their Diseases is the best ever published, because of 
the simplicity of treatment and sure cure of every disease of the 
hog, when the remedies are administered in time, and in the 
manner prescribed in this handy little volume. The remedies are 
inexpensive ; most farmers constantly keep in the house about 
all the medicines recommended in this treatise. The great popu- 
larity of this book lies in the success its remedies have afforded 
all who have had occasion to use them. Fully illustrated. 


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Sheep and Their Diseases 

This excellent work on 
Sheep coming from so high an authority places it at once at the 
top among the special books for stock raisers. The subjects 
treated include: The History and Variety; the Best Modes of 
Breeding; their Feeding and Management; the Diseases to which 
They are Subject and the Appropriate Remedies for each, with 
numerous illustrations of buildings and out-houses, as well as of 
the variety and kinds of sheep suitable for market. 250 pages. 


Elegantly bound. 

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Gleason’s Horse-Training Made Easy, gr.?;* 

V. S. This is a new and practical system of Teaching and Edu- 
cating the Horse. There are chapters on Whip Training; or, How 
to Drive without Reins; How to Make a Horse Trot Honest; 
Essay on Horseshoeing; with treatment of the various diseases 
of the Horse: including a full and complete history of Glanders. 
This is the simplest and best book of its kind published, and is 
fully illustrated. In addition to many small cuts there are sev 


eral full page illustrations. Elegantly bound. 

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Standard Poultry and Belgian Hare Book 

The raising of Belgian Hares as well as Poultry is no longer a 
fad; both as commercial enterprises are bringing millions of dol- 
lars to those who are engaged in the business. Poultry and Bel- 
gian Hare raising is the most profitable business one can engage 
in, and there is no reason why a fortune cannot be made in a 
few years if one will study carefully the methods laid down in 
this book and avoid making the mistakes that prove costly in all 
new enterprises. Diseases common to Poultry and Rabbits are 
fully treated. The book is profusely illustrated and bound in 


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15 


tfbmplefe Buffet Manual, or How to Mix Fancy 

fir itl Ire The nee< lof an up-to-date book, treating on this sub- 
UilllKO' ject has been a long felt want. We earnestly believe 
that this want is now supplied by this book, and we trust the 
reader, if he becomes the practitioner, will enjoy the beverage* 
after following the directions, as much as the author did in pre- 


paring this handy little volume. 

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Plain Medical Talks For Women and Nursery 

Arlificor By Henry McMurtrie, M. D. Is the most serviceable 
ftUVIOCl. book for the home published. The relation of man to 
woman, society, love, marriage, parentage, rules for preserving 
health of married women; directions to pregnant women; an ac- 
count of their diseases with full instructions for the rearing of 
children from birth, with an account of the diseases of infancy, 
are a few of the leading facts treated in this wonderful book. 
Enlarged to 300 pages, fully illustrated. Handsomely bound in 
Red silk cloth with gold design on back and side. 

Price ,.75 cts. 

Dr. Hood’s Plain Talks and Common Sense 

AAnrlirml S rftim n ¥ Treats about the Human System, the 
mCUIudl AUYloCr. Habits of Men and Women. Our Sex- 
ual Relations and Social Natures; embracing Confidential Med- 
ical Talks hpplied to Causes, Prevention and Cure of Chronic 
Diseases, the Natural Relations of Men and Women to Each 
Other, Society, Love, Marriage, Parentage, Diseases of Children, 
Nursing and Care of the Sick, Domestic Surgery, Materia Medica, 
Hygiene, Skin Diseases, etc., etc. Works on branches of science 
other than medicine flow from printing presses in an increasing 
stream. Books on subjects such as Biology, Chemistry, Astron- 
omy and Political Economy are widely read and freely discussed. 
Why should medicine alone be monopolized by its professors and 
denied the public ? What an incalculable amount of suffering 
might be prevented, and how many lives might be lengthened, did 
a more general acquaintance with tin nature of diseases and 
mode of preventing them exist. This valuable work divulges all 
the secrets known to medical science. 

The book is printed from large, clear type on a superior quality 
of wove paper, 1,200 pages. Large, 8vo., cloth. Size, 8x10, with 
special cover designs in colored inks, marbled edges. 

Price 85.00 

A Compendium of Domestic Medicine Adviser. By 

Henry McMutrie, M. D. A great family medical adviser and com- 
panion of pocket size, with illustrations of all essential parts of 
the human body with treatise on all ordinary diseases. The book 
is fully illustrated and contains 256 large bright pages Hand- 
somely bound, silk cloth with gold design on back and side. 

Price 75 eta, 

The Henneberry Company Make Good Books. 

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£9 


CONTENTS OP AMERICAN 

Popular Novel9 in Disguise. 

The Rainbow Labyrinth. 

A Romance of the Flowers. 

Order Out of Chaos. 

Sketches from Favorite Authors. 
Stellar Puzzles. 

In the Zoo. 

The Unsent Telegram. 

A Musical Romance. 

Anagrams. 

Initial Hints. 

Dissected Quotations. 

Answers to Quotations. 

Salmagundi. 

A Hard Times Party. 

A Harvest Party. 

Child’s Birthday Party. 


MOOTS ENTERTAINMENTS. 

A Literary Courtship. 

Wealth in a Penny. 

A Music Lesson. 

An Alphabet Game. 

Dissected Proverbs. 

Answers to Proverbs. 

Bundle Party. 

Kate at the Gate and What She Ate. 
The Artist’s Nightmare. 
Advertisement Party. 

All Kinds of Wheels. 

Abbreviated States. 

House Beautiful. 

A Shakespeare Party. 

The Congress of Nations. 

An Amateur Vaudeville. 

A Dickens’ Party. 


CONTENTS OP TEMPERANCE RECITATIONS. 


An Honest Rum Seller. 

Bondage of Rum, The. 

Country’s Greatest Evil . The. Wilson 
Drain Drinker, The. Rockwell 
Fatal Glass, The 
Glass Railroad, The. Lippard 
Harvest of Rum, The. Dunton 
I’ll Take What Father Takes. Hoyle 
Lips That Touch Liquor, etc. 

Last Drink, The. Wilcox 
Training Ship, The. Gough 
On a Rich Man’s Table 
Playing Drunkard. Smith 
Please Don’t Sell My Father Rum. 
Power of Habit, The. Gough 


Price of a Drink, The. Pollard 
Rum, Devastation and Destiny 
Rum Seller’s Song, The 
Spike that Gun 

Temperance Echo, The. Carswell 
What Strong Drink Will Do. Gough 
What the Temperance Cause Has 
Done for John and Me. Coles 
What Intemperance Does. Ingersoll 

In addition to the above excellent 
collection of choice Temperance 
Recitations, there are nearly seventy- 
five others suitable for delivery on 
all occasions. 


CONTENTS OF SUNDAY SCHOOL ENTERTAINMENTS. 


Angel Ferry, The 

Brakeman at Church, The. Burdette 

Bethel. Duganne 

Better Land, The. Remans 

Charity. Cousland 

Door of Heaven, The 

Drifted out to Sea 

Everlasting Love 

God Be With You. Rankin 

“God Is Nowhere” 

Gone Before, Taylor 

Jesus Lover of My Soul. Hall 

Loom of Life, The 

Lost Chord, The 

Mother’s Cry, The. Hawks 

Mystery of Life in Christ, The. 

My Welcome Beyond. Wellington 

Not in Vain. S. S. World 

Never Too Late. HcGaffey 

Nothing But Leaves 

Over the Hill to the Poorhpuse. 

Old Sermon, The 


Only a Little While. James 
Old Man in a Stylish Church, The 
Old Man in a Model Chuch, The 
Our Ships at Sea. Bungay 
Power of Love, The. Clark 
Quaker to His Wife, The. Walton 
Round of Life, The. Lamont 
St. Nicholas 

Something Left Undone. Longfellow 

Sweet Bye and Bye 

True Source of Contentment 

Vision, A. Gates 

Way to Heaven. Holland 

White Tears. Ewell 

Wife's Prayer, Answered, The. 

Which One. Brown 

In addition to the above excellent 
collection of choice Sunday School 
Entertainments, there are nearly 
seventy-five others suitable for deli- 
very on all occasions. 


20th Century Cook Book 



and PRACTICAL 
HOUSEKEEPING 


Size of Volume, 7*4x10 inches. 


Everything in this book is 
practical, and of the thirty- 
three hundred cooking and 
household recipes, the greater 
majority will be found serv- 
iceable in all homes. 

This book contains 816 larg e 
octavo pages, handsomely 
printed from new plates on a 
good quality of toned paper. 
It is handsomely bound in 
white oil cloth with marbled 
edges and is embossed with a 
special cover design in colored 
inks. 

Price, $1.60 

There are nearly double the 
number of recipes in this book 
than are found in any other 
published, as will be found in 
the comparative table: 



Mrs. 

Lincoln’s 
Cook Book 

! Century 
j Cook Book 

| Three 
; Meals a 

Day 

White 

House 

Cook Book 

Twentieth 
Century 
Cook Book 

Number of Words 

198,000 

201.000 

242,000 

240.000 

460,000 

Number of Pages 

636 

687 

554 

590 

816 

Recipes, Total Number 

1,200 

1,300 

2,300 

1,850 

3,300 

Recipes for Fish 

39 

41 

60 

69 

170 

Recipes for Soups 

43 

47 

65 

53 

89 

Recipes for Shell Fish. 
Recipes for Sauces for 

39 

32 

33 

46 

55 

Fish and Meat 

42 

41 

28 

38 

100 

Recipes for Meats 

108 

120 

103 

134 

243 

Recipes for Salads 

18 

34 

38 

30 

93 

Recipes for Vegetables 
Recipes for Puddings 

62 

73 

101 

100 

176 

and Dumplings 

46 

25 

112 

125 

133 

Recipes for Cakes 

81 

62 

138 

125 

303 

Recipes for Desserts... 
Recipes for Ice Creams 

66 

45 

112 

108 

152 

and Ices 

Recipes for Candy Mak- 

38 

43 

24 

19 

55 

ing 

Recipes for Jams, Jel- 
lies and Marmalades 

None 

28 

44 

41 

75 

24 

32 

110 

39 

142 

Recipes for Pickles 

10 

6 

60 

31 

75 

Recipes for Beverages. 
Recipes for Invalid 

20 

30 

30 

52 

97 

Cookery 

Recipes for Chafing 

68 

None 

56 

45 

83 

Dish 

None 

20 

None 

None 

82 


Standard Cyclopedia 

of Recipes & Edited by Chas. W. Dana 



The worth of a good book of recipes can scarcely be 

expressed in dollars and cents. 
Think of the innumerable 
number of ailments and possi- 
ble hurts that can be cured 
without the assistance of a 
doctor, by the quick applica- 
tion of some home remedy. 
Think of the valuable manu- 
facturers’ recipes given for 
the first time, thus enabling 
the public to profit by the 
priceless recipes so long held 
secret by their inventors and 
discoverers. This book ex- 
plains fully the process of 
manufacturing almost every 
article of household use, such 
as Inks, Paints, Varnishes, 
Dyes, Blackings, Cements, 
Sealing Wax, Whitewash, Per- 
fumes, Ciders, Vinegars, 
Cordials, Wines, Brandies, 
Whiskies, Gin and numberless 
recipes for Baking, Cooking, 
making Cakes, Ice Creams, etc. It also tells how to make Dr. 
Bull’s Cough Syrup, Dr. Harter’s Iron Tonic, Carter’s Little 
Liver Pills, Kickapoo Salve, Radway’s Ready Relief, S. S. S., 
Sapolio, St. Jacob’s Oil, Syrup of Figs, Merchant’s Gargling 
Oil, Zozodont, Warner’s Safe Cure, Mexican Mustang Lini- 
ment, Wizard Oil, Worcestershire Sauce, Perry Davis Pain 
Killer, Rising Sun Stove Polish and hundreds of others. The 
gauging tables alone are worth the price of the book. No 
home is complete without it, and no merchant or farmer can 
afford to be without some good cyclopedia of recipes, and this 
book is the standard. It is used extensively by farmers and 
small manufacturers to whom its recipes have brought health, 
wealth and happiness. It tells of hundreds of ways to make 
money. It has brought fortunes to many! Why not you? 
It is elegantly and substantially bound in cloth. 

Price, $1.50 


American Star Speaker 

Elocutionist Charles ^W. Brown 


Especially adapted for use in Schools, Churches. Lodges, 
Clubs, Literary Societies , and for Home Reeding \ 



<r 


HOUGH there have been many Elocutions, Speakers and 
Reciters published, yet none embraces a larger variety of 
appropriate and up-to-date selections than the American 
Star Speaker. In addition to the five or six hundred 
choice recitations touching every emotion, including Humor, Pathos, 

Patriotism, Heroie, Dialect, Didactic, 
Descriptive, Religious, Comic, Serious 
and the Sublime, there is a very com- 
plete text fully and appropriately illus- 
trated showing the gesture and delivery 
of each selection. Any person can easily 
comprehend the terms used and master 
the elements employed in the correct de- 
livery of any oration, or any recitation. 

The mechanical appearance of this 
book is unequaied in style and quality. 
It is printed on the finest grade of book 
paper from large new type made espe- 
cially for this book. It is beautifully 
bound in red silk cloth, and the artistic 


embossing done in white and blue inks 
with the American flag draped on either side of the national shield, 
gives the whole a decidedly patriotic appearance* Size 5 x£V£ inches* 
containing about 65C pages. Price, $1,54). 


f Vie Patriot's Speaker 

AND MANUAL OF ORATORY 

By Charles E. Chadman 

is a carefully selected collection of patriotic speeches, with 
gems of Prose and Poetic Literature for Readings and Recita- 
tions, with an exhaustive summary of the Principles of Elocu- 
tion and Oratory. Handsomely bound in sloth. 12mo, 300 pagea 

Price $1.00. 


AN ALPHABETICAL LIST 

OF THE CONTENTS OF 

THE HENNEBERRY SERIES 

—OF— 

ENTERTAINMENTS 

Each number, Paper Binding, 25c.; Cloth, 50c. 


CONTENTS OF PATRIOTIC RECITATIONS. 


A True Hero. Conwell 
Ambition. Clay 
An American Exile. Brown 
American Flag. The. 

Barbara Fritchie. Whittier 
Constitution and the People, The. 
Lincoln 

Evacuation of Richmond. Pollard 
Fourth of July. D. F. P. 

Fourth of July. Bethune 
Flower of Liberty. Holmes 
Heroes of ’76, The. Curtis 
History of Our Flag. Putnam. 
Independence Bell. 

Independence Day. Parmely 
Last Broadside, The. Beach 
Lincoln. Goodwin. 

CONTENTS OF HUM 

Aunt Jemima’s Courtship. 

Awfully Lovely Philosophy. 

Brother Anderson s Sermon. Beecher 
B*ys, The. Holmes 
D^t Baby of Mine. Adams 
Der Oak Und Der Vine. Adams 
Dot Lambs Vot Mary Haf Got. 
Emancipation of Man, The. Burdette 
Fritz’s Courtship. Hall 
Fow We Hunted a Mouse. Jenkins 
How “Ruby” Played. Brownin 
Hans Bleimer’s Mool . Brown 
Irishman’s Panorama, The. Bur- 
dette 

Jimmy Butler and the Owl. 

John and Tibbie’s Dispute. 

Judge Pitman on the Various Kinds 
of Weather. Adeler 
Kentucky Bell. Woolson 
Last Station, The. D. F. P 
Mrs. McWilliams and the Lightning. 
M. Twain 


Love of Country. Brown 
Nathan Hale, The Martyr Spy. 
Brown 

Nationality. A Fourth of July Ad- 
dress. Choate 

Our Country’s Greatness. Hoar 
Our Centennial Celebration. Cleve- 
land 

Our Whole Country. 

Then and Now (1776-187(1). Fish 
Washington’s Name. Percival 

In addition to the above excellent 
collection of choice Patriotic Recita- 
tions there are nearly seventy-five 
others suitable for delivery on all 
occasions. 

10US RECITATIONS. 

Mrs. Caudle’s Lecture. J err old 
My Mule. 

Old Daddy Turner. D. F. P. 

Peter Sorghum In Love. Burnett 
Sam’s Letter. 

Setting a Hen. 

Street Cries. S. M. 

Scientific Party, A. Brown 
Smack in School, A. 

Taste. Riley 
Trials of a Twin. 

Uncle Daniel. T. G. A. 

Uncle Reuben’s Baptism. 

Vas Bender Henshpecked. Von Boyle 
Weather, The. B. E. 

In addition to the above excellent 
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Brown’s Business Letter Writer and Book 

o i Commercial Forms. By Charles W. Brown 


A complete and interesting collection of 
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Bryant’s Commercial 
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Love Letters and How to Write Them. 

By Ingoldsby North 




✓ 









































* 









MEDICAL H 

PHYSICIANS EDITION w By 

NEW AND ENLARGED Dr. L. W. DeLaurence 


LIBRARY OF CONGRESS 



0 019 855 458 3 



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